SKATING WITH BROR MEYER 



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SKATING WITH BROR MEYER 



BY 

BROR MEYER 

u 
INTERNATIONAL FIGURE SKATING 

CHAMPION 





WITH ILLUSTRATIONS 

FROM 

MOTION PICTURE PHOTOGRAPHS 



GARDEN CITY, NEW YORK AND TORONTO 

DOUBLEDAY PAGE AND COMPANY 



I 9 2 I 






COPYRIGHT, 192 1, BY 

BROR MEYER 

ALL RIGHTS RESERVED, INCLUDING THAT OF 

TRANSLATION INTO FOREIGN LANGUAGES, 

INCLUDING THE SCANDINAVIAN 



APR 14 i<^PI 



0)CI,A614096 



CONTENTS 



PAGE 



The First Strokes on the Ice 3 

Plain Forward Skating 3 

The Skating of Simple Curves 4 

Definition of Certain Skating Terms 5 

Axes . . . . 5 . 

The Elementary School Figures 6 

Outside Forward Edge in Eight Form. Figure i 6 

Inside Forward Edge in Eight Form. Figure 2 9 

Outside Back Edge in Eight Form. Figure 3 . . 10 

Inside Back Edge in Eight Form. Figure 4 12 

The Start from Rest 14 

Forward Change of Edge. Figure 5 17 

Backward Change of Edge. Figure 6 19 

The Various Threes. Figures 7-9 21 

Double-Threes 26 

Outside Forward Double-Three. Figure 10 26 

Inside Forward Double-Three. Figure 11 .28 

Outside Back Double-Three. Figure 12 29 

Inside Back Double-Three. Figure 13 30 

Loops 31 

Outside Forward Loop. Figure 14 31 

Inside Forward Loop. Figure 15 33 

Outside Back Loop. Figure 16 . . 34 

Inside Back Loop. Figure 17 36 



V 



vi CONTENTS 

PAGE 

The Brackets 36 

Outside Forward and Inside Back Brackets. Figure 18 ...... 36 

Inside Forward and Outside Back Brackets. Figure 19. 39 

The Rockers 41 

Outside Forward and Outside Back Rockers. Figure 20 41 

Inside Forward and Inside Back Rockers. Figure 21 43 

The Counters 45 

Outside Forward and Outside Back Counters. Figure 22 . -45 

Inside Forward and Inside Back Counters. Figure 23 48 

The Advanced School Figures 50 

One-Foot Eight, Forward. Figure 24 50 

One-Foot Eight, Backward. Figure 25 52 

Change-Three. Figures 26 and 27 54 

Change-Double-Three. Figures 28 and 29 55 

Change-Loop. Figures 3c and 31 56 

Change-Bracket. Figures 32 and 33 "..... 57 

Forward Three-Change-Three. Figure 34 58 

Backward Three-Change-Three. Figure 35 59 

Forward Double-Three-Change-Double-Three. Figure 36 .... 60 

Backward Double-Three-Change-Double-Three. Figure 37 . . .61 

Forward Loop-Change-Loop. Figure 38 ... 62 

Backward Loop-Change-Loop. Figure 39 63 

Forward Bracket-Change-Bracket. Figure 4c 64 

Backward Bracket-Change-Bracket. Figure 41 65 

Diagrams of School Figures 67 

Free Skating 71 

The Contents of a Programme 73 

Field Combinations 74 

Dance Steps 88 



CONTENTS vii 



PAGE 



Spirals ICO 

Various Jumps 105 

The Spread Eagle 115 

Toe-Spins and Pirouettes 116 

Remarks on the Composition and Skating of a Free-Skating Programme . .120 

Pair Skating 122 

Waltzing on the Ice 142 

The Correct Commencement of the Waltz 146 

Waltz Variations 147 

Marking-Card . 148 

Boots, Skates, and Costume 149 

Training 151 

As to Choice of Food and Manner of Living 152 

The International Skating Union and Its Regulations 153 



INTRODUCTION 

IN latter years the art of skating has made such rapid strides, that a more detailed 
exposition of Figure Skating has become necessary, particularly with regard to the 
Skating of the School Figures; hence my reason for producing this work. I have 
endeavoured to incorporate therein the experience gained during the years whilst I was 
practising for the International Competitions, with that which has resulted in more 
recent years from my position as an instructor. 

To facilitate an easy interpretation of the text, as well as to show more clearly the 
various movements, I decided, after great consideration, to illustrate the work by means 
of photographs taken with a Cinematograph. 

The disadvantages of this method (e.g. the relatively small photograph of the 
skater; occasional departures from the true perspective; displacement of proportion 
between the skater and the size of the figure) are far outweighed by the ability to show 
the whole figure which is being skated, with photographs closely following one another 
illustrating the changing positions of the skater. Each position is also numbered, so 
that the reader can follow the course of the figure at a glance. 

With regard to my theories and method of skating, these are the outcome of a de- 
sire to formulate a method, by means of which, with few exceptions, all who desire to 
skate may become proficient. This of course mainly applies to the School Figures, as 
Free Skating and Pair Skating programmes should show individuality. The reader 
should become accustomed to following the text in connection with the numbers of the 
illustrations from i on. In the illustrations of Pair Skating a separate number is given 
to each skater while they are separated. In several of the Advanced School Figures 
requiring the skater to retrace the figure, the second half is shown in the lower illus- 
tration, which is to be read in continuation of the upper. In several cases I have 



X INTRODUCTION 

added below the illustrations a series of poses indicating the action around the loop, 
bracket, rocker, etc. 

I wish to tender my sincere thanks to those who have so ably assisted me in my 
work. Miss Muriel Harrison of London, for her partnership in the Pair skating; and ... 
Mr. Stanley Lingard of Manchester, for his translation of the book into the English^H[ 
language. 

Bror Meyer. 



SKATING WITH BROR MEYER 




SKATING 



THE FIRST STROKES ON THE ICE 
The best method for the novice to make his initial attempt upon the ice is to obtain 
the services of two good skaters, who will take hold of the beginner one on each side. 
He now endeavours to move forward, concentrating his mind upon keeping perfect time 
with his assistants, and trying to move his feet and body as he sees and feels the others 
are doing. Having attained a reasonable facility, he should dispense with one assistant, 
and must skate forward, pushing his friend gently backward. This assistant should now 
give the novice careful instructions, because these instructions are to be, later on, the 
foundation for plain forward skating. 

PLAIN FORWARD SKATING 

In order that a person may skate forward correctly, it is essential, in the first place, 
that the weight of the body be slightly in advance, in the direction in which the skater 
is progressing. This is accomplished by leaning the body slightly forward on a gradually 
raised and lowered knee. The skater is thus made to travel on the ball of the foot, which 
gives him a better balance, a more intimate feeling with the ice, and also causes less 
work. At this stage the skater will be appreciating and learning the correct movement 
of the skating knee, as required by the International Style. Great care must be taken 
that the strokes are made quietly and smoothly, as through this the greatest power is 
derived. To obtain the full benefit, the skates should be ground a little flatter directly 
under the ball of the foot. 

The body when leaning forward must be held in a straight line from the ankle 
upward; bending from the waist must be avoided. It is natural to look forward on 
to the ice, but distinct bending of the neck is to be guarded against. The head must be 



4 SKATING WITH BROR MEYER 

held in line with the back, which is to be Icept hollowed; the shoulders must be carried 
in a natural position, the arms must not be raised but must be kept under control, yet 
not stififened. They should be held at the side of the body, with the wrist slightly bent, 
so that the hands do not appear lifeless. The fingers must not be clenched nor yet 
spread apart. Carrying the arms in this manner prevents the skater aimlessly swinging 
them with the body. 

In taking a new stroke, see that the foot does not descend heavily upon the ice, but 
that it glides smoothly from the rear into the line of progression. As the foot moves 
forward, the front part of the skate reaches the ice close to the heel of the other foot, 
and, through the weight of the body gradually moving over on to the skating foot, the 
new stroke commences. 

In conjunction with the transfer of the weight of the body, the unemployed foot 
gives a slight push off from the side of the skate, and this foot then describes in the air 
a circular movement, which brings it forward at the right moment in order to take up a 
new stroke. The unemployed foot should not be raised very much, but should be 
carried close to the ice surface, and the leg swung slowly round entirely from the hip. 
The foot must always be held in line with the leg, the toe pointing downward and 
outward, never by any chance pointing upward. 

THE SKATING OF SIMPLE CURVES 

As soon as the skater has become fairly proficient in plain forward skating 
his next attempt must be to skate simple curves. The skate can travel on the ice in 
three different ways, e.g., on the flat of the blade, on its outer edge, and on its inner edge. 
Skating on the inside edge comes naturally at the end of every stroke which the skater 
has made whilst skating during the previous stages. The transfer of the weight of 
the body and the forward movement of the unemployed leg compel the skate to rock 
over to the inside edge of the blade. It is more difficult for the skater to learn to travel 
on the outside edge of the skate and consequently necessitates more careful attention 
and practise. In his endeavours to skate on the outside edge he must avoid simply 
forcing the skate on to the edge by bending the ankle, but must try to lean boldly over 
in a direct line with his foot. The simplest method of learning is for the skater to 
endeavour to travel round a circle, looking to the centre and remaining as long as possi- 
ble on the skating foot, keeping the unemployed foot always in the rear, which enables 
him to push off anew when his original impetus has died away. 

This must be practised in like manner on each foot. The beginner must try his 



SKATING ^ 5 

utmost to lean the whole of his body toward the centre, and to so prolong his strokes that 
they become almost a complete circle. If a good skater will take hold of the beginner's 
hands and skate backwards this practise will be made considerably easier. 

DEFINITION OF CERTAIN SKATING TERMS 

In this work, I shall define certain terms: 

The Employed Foot, is the foot travelling on the ice. 

The Unemployed or Free Foot is, therefore, the foot held in the air. 

The employed shoulder always corresponds to the employed foot and the unem- 
ployed shoulder to the free foot. 

When using the word "behind" in reference to the free foot, arm or other part, I 
mean behind the heel of the skating foot, irrespective of the direction of progress. 

''In Front" means, correspondingly in front of the toe of the skating foot. 

The "open knee" signifies that the knee is turned on the hip outwardly away from 
the body. 

On inner edges the knees are open, although the feet are close and parallel when 
passing. 

By rotation with the curve, I mean a rotation in the same direction as the curve 
is proceeding. By against the curve, I mean the reverse rotation. 

AXES 

In every regular form figure there are two axes — the long axis which divides the 
figure lengthwise and the transverse axis cutting the long axis at right angles. 





FIGURE I. OUTSIDE FORWARD EDGE IN EIGHT FORM 



THE ELEMENTARY SCHOOL FIGURES 



OUTSIDE FORWARD EDGE IN EIGHT FORM 

FIGURE I 

The beginner must not attempt to skate the figures in eight form until he is able 
to carry his body correctly, as described in the skating of simple curves. 

In order to make a perfect circle, the skater must chiefly concentrate his mind upon 
starting correctly. Unfortunately many skaters neglect this; consequently they do 
not get into the correct position for skating this figure until they are well on the edge, 
with the result that the correct tracing, swing, strength, firmness, and beauty have gone. 
Instead of this, the skater should endeavour to have his body in the correct position as 

6 



THE ELEMENTARY SCHOOL FIGURES 7 

soon as the foot touches the ice, i.e., the body must be leaning strongly toward the centre; 
the shoulders must be carried in such a manner that a line drawn through them should 
be almost parallel with the tracing line and a little inside the print. Special attention 
must be given to the shoulder over the unemployed foot. It must be held strongly 
back, so that this shoulder blade comes nearer to the spine, giving not only a nicer ap- 
pearance to the back, but a more evenly distributed weight over the skate. Through 
the natural forward position of the body, the leading shoulder is thrown rather lower 
than the unemployed shoulder but care must be taken not to break the line of the body 
at the waist. Particular attention must be paid at this stage to the position of the hips, 
and it cannot be too strongly impressed upon the tyro that good skating necessitates a 
perfect control over the movement of the hips. 

The hip over the unemployed foot should be held backward in the same manner as 
the unemployed shoulder, so that a curve could be drawn from the shoulder over the 
tracing leg, across the spine, through the unemployed hip, knee, and toe to the print on 
the ice, or perhaps a little inside the print. The unemployed leg should be stretched 
as far backward (from the hip) as possible, without spoiling the erect position of the body; 
with outward turned knee and toe pointing down and out and in an unbroken line with 
the leg. 

Regarding the requisite bend of the knee: generally speaking, the employed knee 
is to be kept well bent in order to skate on the ball of the foot where the greatest 
strength is obtained, and the unemployed knee only slightly bent to preserve the curve 
of the body. 

The head position should be such that it suits the general contour of the body, the 
neck making a continuous line of the head with the spine. Not only should the head 
be carried erect, it should also conform with the sideways position of the body, and should 
be slightly turned inward. 

To be in perfect harmony with the body, attention must also be paid to keeping the 
arms in good position. The leading arm should be slightly bent at the elbow, the wrist 
so bent that the hand does not appear lifeless, and the arm held naturally in front of 
the body. 

The other arm should approximately be kept parallel with the unemployed leg, that 
is, with the hand held above the knee, with slightly upturned wrist. 

The correct body position ought to be taken up immediately at the commencement 
of the figure and maintained until approximately halfway through the circle, except for 
a slight straightening of the skating knee, which may be done shortly after the com- 
mencement (at which time the knee was strongly bent) . When approaching the semi- 
circle, the body must be rendered more flexible by renewed bending of the skating knee, 



S SKATING WITH BROR MEYER 

and the body then rotates (naturally with the motion), using the skating knee as its 

axis. 

This rotation means that the unemployed shoulder with its corresponding arm, hip 
and leg are brought forward together and the employed shoulder, arm and hip are car- 
ried backwards, but only so far as the rotation of the back comfortably carries them 
without straining. The skater, who in the first half of the circle is looking somewhat 
toward the centre, now gradually changes so as to look along the line of progres- 
sion. 

When the unemployed leg is brought forward, it passes round the hip in line with the 
upper part of the body and consequently the distance between the unemployed and the 
skating leg varies according to the inclination of the body; and the body's inclination 
varies according to the height, build, strength, weight, etc., of the individual. After 
the unemployed leg is brought forward, it must not be carried across the tracing line; 
and the inclination must be gradually abolished in order to obtain the correct tracing of 
a true circle. When approaching the completion of the circle, the body is placed in 
position for the new edge. If this position be taken up too early, it is difficult to com- 
plete the first edge in true circle form. 

Unnatural means of obtaining this tracing; such as altering the curve by forced ankle 
work, must be avoided. 

When moving the arms, care must be taken that the forward arm. is moved smoothly 
backward — not swung — and carried rather close to the body. This at first appears to 
be a minor detail, especially with inexperienced skaters, but it is of great importance, 
to avoid excessive motion around the axis and if the second half of the circle is to be 
made correctly. 

How to pass from one foot to the other: The unemployed leg, which is now in ad- 
vance and held fairly straight, is brought quickly backward to the heel of the employed 
foot, and at the same moment the weight of the body moves forward, whilst the skating 
foot (which at the start is almost at right angles to the new tracing) turns quickly over on 
to the inside edge, and the thrust taken from the front half of the blade — not the toe. 

The momentum at the commencement of the new tracing, comes from the changing 
of the weight of the body into the new direction and the swing of the unemployed leg 
helps the take-off from the late tracing foot. 

When commencing the first circle from rest, the swing of the body is not yet in ex- 
istence, so the take-off must be done rather more strongly, the only difference from the 
above description being that the shoulders and arms fall into correct position at the 
actual start. 



THE ELEMENTARY SCHOOL FIGURES 9 

INSIDE FORWARD EDGE IN EIGHT FORM 

FIGURE 2 

The position of the body at the commencement of a forward inside circle on one foot, 
is almost similar to the position which is taken up when skating the outside forward 




FIGURE 2. INSIDE FORWARD EDGE IN EIGHT FORM 



edge on the other foot, provided that in both cases the skater is travelling in the same 
direction on the same circle. 

The easiest method of learning the inside forward edge is for the skater to take up 
the position for an outside forward edge and then to place the other foot down on the 
inside edge, whilst he endeavours to maintain his existing position. As in the case of 
an outside forward edge, the skater must concentrate his mind upon starting the figure 
correctly. 



lo SKATING WITH BROR MEYER 

An important point of this figure is — that whilst the unemployed leg remains in the 
rear, with the unemployed shoulder leading, and the employed shoulder held firmly 
back, still, the leading shoulder is not pressed so far forward that it forces the shoulders 
to be flat with the print, i.e., parallel with the tracing line. 

On the inside edge, the unemployed leg and hip pressing toward the employed 
shoulder gives a very compact balance, and in a degree ensures greater steadiness, pace, 
and steering qualities. 

The inclination of the body toward the centre of the circle is not so pronounced on 
the inside edge as on the outside, because the weight of the body and the unemployed 
leg fall within the circle. The position of the head and arms and the "gradually raised 
and lowered knee" apply equally to the inside and outside edges. 

The position at the commencement of the figure is retained until approximately 
halfway through the circle, when the unemployed leg and the employed shoulder and arm 
are gradually brought forward and the unemployed arm goes backward to take up their 
positions for the next edge and the skater looks in the direction of progress. 

Special attention must be given to (i) The toe of the unemployed foot, which during 
the first half of the circle must be pointing downward over the tracing line. (2) When 
the unemployed leg is brought forward the toe should pass as closely as possible to the 
heel and along the side of the skating foot and be then carried forward to the tracing 
line. (3) The knees must always be kept apart, with the unemployed .knee "open." 
(4) The forward arm must not swing toward the centre, but must be carried round rather 
close to the body and in a downward direction to the hip, so that at the last moment 
it is in the correct position for taking up the new edge. 

Carefully avoid making a spiral in place of a true circle. 

In order to complete the circle correctly and to commence the new edge in the easiest 
manner, the skater, toward the end of the first circle, sinks on the skating leg and draws 
the unemployed foot behind the heel of the tracing foot. This gives a better balance 
and enables the skater to be in the most advantageous position for a powerful start on 
the other foot. 

OUTSIDE BACK EDGE IN EIGHT FORM 

FIGURE 3 

Recall, when speaking of the unemployed leg on the back edges, either outside or 
inside, "in front," means in front of the toe of the skating foot. 

The outside back circle has a certain similarity to the outside forward circle at the 
commencement of the figure, inasmuch as the positions of the head and shoulders are 
identical; the unemployed shoulder is steering the skater in the direction of motion and, 



THE ELEMENTARY SCHOOL FIGURES ii 

furthermore, the weight of the body also hes in the same direction, and the skater looks 
in the direction of motion. In both cases the unemployed leg counterbalances the body. 
Following out this rule: at the commencement of the outside back eight the unemployed 
leg is held in front. The skater keeps this position for approximately the first third of 
the circle, then lifts the body by straightening the skating knee and gradual!}^ rotates 




FIGURE 3. OUTSIDE BACK EDGE IN EIGHT FORM 



the unemployed leg from the hip, according to the same theory as when moving the un- 
employed leg forward on an outside forward edge. The knee must be kept "open" 
with the toe pointing downward and outward. 

If the skater has accomplished these movements gradually and correctly, he will 
have traversed three fourths of the circle. Remaining for a moment in position, toward 
the completion of the circle, the skater bends the employed knee and raises the unem- 



12 SKA TING WITHBROR MEYER 

ployed leg solely from the hip socket, which gives him a more pronounced inclination 

and consequently a stronger edge, and so prepares him to commence the next edge more 

easily. 

The change from the outside back edge on one foot to the outside back on the other 
foot is accomplished as follows: 

From the extreme outside back position just described, caused by lifting the unem- 
ployed leg, the skater straightens the tracing knee, and at the same time transfers his 
weight and correctly inclines his body for the new circle. The skate is now coming on to 
its inner edge; and taking off from this inner edge, the skater comes on to the other 
foot on a strongly bent knee. During this short change of edge, the shoulders have 
rotated into the correct position for commencing the new back outside circle. 

Immediately the take-off is completed, the head changes into its new position, i.e. 
looking over the unemployed shoulder in the direction of progression. 

INSIDE BACK EDGE IN EIGHT FORM 

FIGURE 4 

The position of the body at the commencement of a back inside circle on the one foot, is 
almost similar to the body position, which is taken up when skating the outside back edge 
on the other foot, provided that in both cases, the skater is travelling in the same direc- 
tion on the same circle. 

At the commencement of the circle, the skating knee must be well bent, the unem- 
ployed foot in front and held just inside the print, whilst the employed or steering arm 
is stretched out behind. The unemployed arm should be slightly bent and remains in 
front of the body as in the forward inside eight. 

The correct position of the arms should be taken up immediately at the commence- 
ment, and must not be changed during the circle, otherwise the skater is apt to bulge 
the tracing. 

On the back inside eight, the position at the commencement is retained for about the 
first third of the circle; the skater then straightens the employed knee, reduces the in- 
clination of his body, and carries the unemployed leg slowly backward in precisely the 
same manner as it is moved forward on a forward inside edge, i.e. that the unemployed 
foot passes close and parallel to the skating foot (with knees open), and is carried back- 
ward to the tracing line. 

It this movement has been carried out smoothly, the skater will have completed three 
fourths of the circle and this position should be retained until the time arrives when he 
must prepare to take up the new edge, which is done as follows: 

The employed knee is well bent, the unemployed leg is brought nearer to the em- 



THE ELEMENTARY SCHOOL FIGURES 13 

ployed, and the arms nearer to the body, so that the skater concentrates his strength for 
the take-off. Consequent upon the bending of the employed knee toward the end of the 
circle, the skater comes on to a keener edge, which completes the circle correctly and 
causes the body to lean slightly forward, giving additional assistance when transferring 
the weight of his body into the plane required at the commencement of the new edge. 




FIGURE 4. INSIDE BACK EDGE IN EIGHT FORM 



The arms which now are rather near to the body must, at the extreme end of the 
circle, take up the correct position for the new tracing, as previously described. 

In this as in the other edges, the head should be held upright, making a continuous 
line with the back, and the skater must pay particular attention to the direction in 
which he looks. In the first quarter of the circle, the skater should look in the direction 
of motion, then gradually toward the centre of the eight. This brings him back to the 



14 SKATING WITH BROR MEYER 

starting point of the figure more easily, and this point is also the direction in which he 

should be looking when the new edge is taken up. 

The above-mentioned four edges are the foundation for all school figures and also free 
skating, therefore, the skater should practice them with greatest care in order to get 
control of every limb in a graceful manner. Even the best skaters should start in with 
these figures whenever practising, to "limber up" and get into the right balance. 

THE START FROM REST 

As soon as the skater has mastered each of the four edges he must learn the correct 
method of commencing that edge from rest, on either foot. "Commencing from rest" 
means, as regards forward edges, that the free foot, with which the push off is made, is 
not allowed any preliminary stroke, and as regards the backward edges, that the im- 
petus must only be obtained by a quick rotation of the body. See Illustrations, page 15. 

The tracing foot must also take up the edge without any preliminary movement on 
the ice. 

Learn to start from rest equally well on each foot. 

FAULTS GENERALLY FOUND IN THE SKATING OF THE FOUR EDGES 

[i] Outside Forward Edge : 

The figure notxommenced at right angles to the long axis. 

The body not inclined immediately in the correct plane. 

The correct position of the body and head not taken up at the commencement. 

The unemployed knee insufficiently turned out and the unemployed foot insufii- 
ciently pointed. The toe should never be pointed up. 

Bending the body at the waist. 

The aimless swinging of the unemployed leg and arms, causing inability to complete 
the edge in true circle form. 

The unemployed shoulder, leg, and hip not working together. 

The unemployed leg jerked forward. 

The foot carried forward across the print. 
[2] Inside Forward Edge: 

The figure not commenced at right angles to the long axis. 

Incorrect body and head position when commencing the figure. 

The unemployed leg insufficiently straightened. 

The unemployed knee not turned outward. 

The rear arm not held suflficiently backward. 

The forward arm either stretched too far forward or held too close to the body. 



THE ELEMENTARY SCHOOL FIGURES 




15 



H 

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d 
D 
O 

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K 



i6 SKATING WITH BROR MEYER 

The unemployed leg and arms swung round too rapidly and when carried round, are 
too far away from the body. 

The unemployed foot insufficiently straightened, turned, out or pointed, and not 
close enough to the tracing foot when passing. 

The unemployed foot either carried across or left inside the print, after being brought 
forward. 

Insufficient bending of the tracing knee at the finish of the circle, and the unem- 
ployed foot not brought to the skating foot, causing an incorrectly shaped circle and loss 
of power at the take-off. 

[3] Outside Back Edge: 

Tracing knee insufficiently bent at the start. 

The body not immediately inclined in the plane of progression, and in incorrect posi- 
tion. 

The unemployed leg insufficiently straightened when held in front. 

The unemployed leg, when passing the skating leg, taken unnecessarily wide. 

When the unemployed leg is held behind; the body often falls forward spoiling the 
graceful effect. 

The head dropping down and not making a continuous line with the back. 

Insufficient bend of the skating knee shortly before the completion of the circle, 
and before the edge is changed. 

Omitting to raise the body when the skate in rocking over to the inside edge, which 
makes the passing from one foot to the other jerky. 

[4] Inside Back Edge: 

The heel of the skating foot insufficiently turned out, and not at right angles to the 
long axis; causing difficulty in making a clean start on the inside edge. 

The employed knee insufficiently bent at the commencement, and the body not 
in an almost upright position. 

The steering arm not held sufficiently in the rear at the commencement. It is fre- 
quently only brought into the correct position about the middle of the circle, causing the 
tracing to be bulged. 

The unemployed foot carried too far inside the print, when moved backward, and is 
also too far inside the print at the end of the circle. 

The tracing knee insufficiently bent, when the circle is almost completed, causing 
the print to be flattened. 

The unemployed foot not sufficiently close to the skating foot before commencing 
the new edge, causing loss of power at the take-off. 



THE ELEMENTARY SCHOOL FIGURES 



'7 



FORWARD CHANGE OF EDGE 

FIGURE 5 

The forward change of edge consists of a semicircle on the outside forward edge, the 
change of edge and a complete circle, all accomplished on the one foot. The other foot 




FIGURE 5. FORWARD CHANGE OF EDGE 

then commences on the inside edge, makes a semicircle, changes edge and then a com- 
plete circle on the outside edge. The figure thus makes three circles of equal radii, 
touching each other, and with both changes at right angles to the long axis. 

It is accomplished as follows: The skater commences the outside edge in the same 
manner as for the plain eight, and the shoulders, arms and unemployed leg at once com- 
mence to rotate slowly in the direction of the curve, so that when the first half circle is 



i8 SKATING WITH BROR MEYER 

completed, i.e., at the change of edge, the shoulders are approximately at right angles to 
the tracing (parallel with the long axis), with the unemployed leg held in front. By a 
deep bending of the employed knee, and a greater incHnation of the body toward the 
centre of the first half-circle, the skater before the change is brought on to a strong out- 
side edge, making it considerably easier to take up a good inside edge after the change. 
At the actual moment when the skate rocks over, the employed knee should be only 
slightly bent, and when the skate reaches the inside edge, the knee must again be 
strongl)^ bent. 

The actual change is brought about by the alteration in the inclination of the body, 
i.e., by leaning into the first circle and then into the new circle, together with the draw- 
ing back of the unemployed leg, which must be done fairly quickly (but not kicked). 
After the change, the inside edge is skated in exactly the same manner as the inside for- 
ward edge in eight form, previously described. 

The skating of the second half of this figure, i.e., the inside to outside change. Com- 
mence as for an inside forward edge, and proceed at once to rotate the shoulders slowly, 
and carry the unemployed foot forward. At the commencement, the tracing knee 
should be well bent and during the rotation before the change, again strongly bent, with 
the body held slightly backward and leaning well into the first circle. By this time 
the unemployed shoulder and arm ought to be drawn as far backward as possible; this 
brings the skater on to a keen inside edge and at the same time places him into the 
necessary position for the following outside edge. This position is exactly the same 
as at the commencement of an outside forward eight, and should only be attained just 
as the skate rocks over to the outer edge. 

The actual change is brought about by the transfer of the weight of the body into 
the new circle and the straightening and bending of the employed knee. The body 
must be correctly inclined as for an outside forward eight, with the skating knee well 
bent, the leading shoulder lowered. As the skate rocks over to the outside edge the 
free foot should be brought back firmly and rather quick and the skater should look well 
into the new centre. No change must be made in the position of the arms. 

Whilst executing this figure the skater should be travelling on the ball of the foot, 
and this is the more easily accomplished if care be taken that the raising and lowering 
of the skating knee is done smoothly. 

THE CHIEF FAULTS IN SKATING THE FORWARD CHANGE OF EDGE 

Swinging of the arms and unemployed leg, particularly in the first half-circle. 
Jerky movements of the tracing knee, causing bulges on the print before and after the 
change. 



THE ELEMENTARY SCHOOL FIGURES 19 

The centre circle made too large, and is often oval in shape. 

The position of the head is often altered before the change of edge, and through this, 
the change of edge is rendered more difficult and the contour of the body is spoilt. 





FIGURE 6. BACKWARD CHANGE OF EDGE 



BACKWARD CHANGE OF EDGE 

FIGURE 6 

The change of edge backward also consists of three equal-sized circles and is skated 
in the following manner: 

At the commencement, the shoulders are approximately at right angles to the tracing, 
with the body leaning strongly toward the centre of the circle; tracing knee well bent, 



20 SKATING WITH BROR MEYER 

and the unemployed leg held in front just outside the print. The skater at once moves 
the unemployed leg slowly backward, but the body position remains unchanged. When 
approaching the change, the tracing knee is somewhat straightened, and the employed 
arm, which has been held at the side of the body, is drawn slowly backward. As this 
arm motion approaches completion, the unemployed foot comes forward assisting the 
body to lean into the new plane and the tracing knee is again bent, which causes the 
skate to rock over and brings the skater into position for the back inside edge which is 
skated in the manner previously described. 

The second half of the figure, the inside to outside change is accomplished in the fol- 
lowing manner: 

At the commencement, the body position is the same as for the back inside eight. 
The unemployed leg is gradually carried backward, taking care that it passes near to 
the tracing foot. During this movement, the skating knee remains strongly bent and 
the shoulders are rotated away from the centre of the circle; with the unemployed 
shoulder held somewhat lower, causing a forward tendency of the body and bringing the 
skater on to a keen inside edge. The position of the head i.e. looking over the employed 
shoulder, is retained until the change. 

If these movements have been properly carried out, the skater will have approached 
the change. He now straightens the tracing knee and moves the unemployed foot 
forward. At the^same time, the unemployed shoulder and arm are moved backward, 
and the employed shoulder and arm forward; the head also changes and the skater 
looks over his unemployed shoulder, in the direction of motion. 

The actual change is brought about by the rotation of the shoulders and the trans- 
fer of the body from a forward to a backward position, which latter brings the body into 
the correct plane for the new circle. Immediately after the change, the tracing knee 
is strongly bent, and the skater is then in the correct position for commencing the back 
outside eight, which is completed in accordance with the previous directions. 

THE CHIEF FAULTS IN SKATING THE CHANGE OF EDGE BACKWARD 

Swinging the unemployed leg carelessly before the various changes instead of a grad- 
ual motion. 

Jerky movements of the employed knee, causing incorrect tracing. 

Centre circle too large and not circular in shape. 

On the outside to inside back change, the body is often broken at the waist, and the 
employed arm is often moved backward too late to make an easy change. 

On the inside to outside back change; the movements of the shoulders and arms, 
and the unemployed leg and head are not made at the same time as the change in the 
inclination of the body. 



THE ELEMENTARY SCHOOL FIGURES 21 

THE VARIOUS THREES 

FIGURES 7-9 

In skating there are various classes of turns, and of these the novice should first 
acquire facility in the outside forward threes, practised to a centre. These turns are 




FIGURE 7. OUTSIDE FORWARD THREE 

natural turns, i.e. the curve after the turn is a natural continuation of the curve before 
the turn, and for this reason they are the easiest to acquire. 

Note, all the various forward turns are made on the front part of the blade and all 
the back turns toward the heel. 

The outside forward three comprises a forward outside half-circle, the turn and a back 
inside half-circle. 



11 SKA TING WITHBRORMEYER 

The skater commences in the same manner as when skating an outside forward edge, 
and from the beginning slowly rotates the shoulders with the curve, but keeps the unem- 
ployed foot in the rear. The strong inclination of the body is gradually reduced, and the 
tracing knee slightly straightened, so that at the turn he may be in the following position : 
Body perpendicular over the skate, with a slight tendency to lean inward, unemployed 
foot held behind and near to the tracing foot, and the shoulders as nearly as possible 
parallel with the tracing foot. This latter is very important. The turn is now made on 
the fore part of the skate, and at the actual moment when the skate comes on to the inside 
edge the shoulders are unwound, so that the unemployed shoulder, hip, foot, and arm are 
directly over the tracing. The space between the feet is now slightly increased, and the 
unemployed toe points outward in the direction of progression. 

After the turn, the body must be kept in an upright position, so as to hold out the 
resulting curve correctly; care being taken that the ankle does not fall inward in tire 
endeavour to hold the inside back edge. 

Just before the completion of this edge, the body leans toward the next circle, the 
employed knee is well bent, the arms take up the position for the correct start on the next 
foot, and the unemployed shoulder sinks. 

During the second half of the three the skater must look in the direction of motion. 

THE CHIEF^ FAULTS IN SKATING THE OUTSIDE FORWARD THREES 

The rotation of the shoulders is delayed, consequently the time is too short to enable 
them to work properly when approaching the turn. 

Insufficient rotation of the shoulders, which spoils the symmetry of the turn, and 
prevents the turn pointing on the long axis. 

Body not perpendicular at the turn. 

Feet too far apart just before the turn. 

Unemployed shoulder and arm insufficiently unwound after the turn. 

Body too strongly inclined inside the print, which pulls in the curve after the turn. 

Unemployed knee insufficiently open, which prohibits the unemployed toe being 
pointed in the skating direction. 

Delay in transferring the weight of the body into the new circle, causing the com- 
mencement of the second part of the figure to be jerky. 

The next figure for the skater to acquire is No. 8, but this should not be attempted 
until the skater has mastered both the inside back eight and the forward threes. 

This figure consists of an outside forward three on one foot coupled with the inside 
back three on the other foot. 



I 



THE ELEMENTARY SCHOOL FIGURES 23 

The first portion, i.e., the outside forward three, is skated in the manner previously 

described, and the inside back edge is commenced in exactly the same way as the inside 

back eight. 

This position is retained up to the turn, meanwhile the inclination of the body is 




FIGURE 



OUTSIDE FORWARD AND INSIDE BACK THREE 



reduced and the employed knee slightly straightened. The head remains turned in the 
direction of motion. At the turn the position of the skater is as follows: Shoulders 
and arms flat with the print, body perpendicular over the heel of the skate, with un- 
employed foot remaining in front directly over the tracing line and held fairly close 
to the employed foot. 

The weight of the body is now held backward, so that the skater is able to see the heel 



24 SKATING WITH BROR MEYER 

of the tracing foot when looking between the employed hip and arm. This brings the 
skater on the back part of the skate, and he is then in the required position for making 
the turn. At the moment of the turn, the unemployed foot, together with the corres- 
ponding shoulder and arm remain behind; the arm, which before the turn was held 
behind the body, now leads and is held just over the print. At the same time the- tracing 
knee is bent, giving the skater almost the same position as that required for an outside 
forward edge. Care must be taken that after the turn, the body does not fall into the 
circle, and the skater must look forward in the skating direction, otherwise the second 
part of this three falls in and becomes too small. 

THE CHIEF FAULTS IN SKATING THE BACK INSIDE THREE 

Wrong start, i.e. not at once on the inside edge. 
The shoulders and arms are not flat with the print before the turn. 
The same fault applies to the unemployed leg and foot. 

The shoulders are swung round with the turn causing the body to lean too far into 
the circle, with the result that the second half of the circle becomes too small. 

The last type of Three is the inside forward on one foot, followed by the outside 
back on the other foot. Figure 9. 

The forward inside three is commenced in the same manner as the plain eight. The 
shoulders rotate slowly from the commencement, but the unemployed foot remains be- 
hind until approaching the turn, when it is brought nearer to the tracing foot. The 
shoulders are rotated evenly during the first half of the circle, so that the actual turn, 
which is made on the front part of the skate, is the direct result of this rotation. The 
body, which was strongly inclined toward the centre, at the commencement is straight- 
ened and remains in this position after the turn, to allow the resulting back outside edge 
to be well held out. Immediately the turn is made, the skater sinks on the employed 
knee. 

The position of the body, feet and head is the same as for the second half of a plain 
back outside eight. Care must be taken that after the turn is made, the unemployed 
foot does not fall inside the print; it must be held just outside, failing this, the second 
half will be too small. 

THE CHIEF FAULTS IN SKATING OF THE INSIDE FORWARD THREE 

The shoulders do not rotate slowly from the commencement. 
The body is not straightened when approaching the turn. 

The inclination of the body after the turn is too great, and this, together with the 
holding of the unemployed foot inside the print, causes the second half to be too small. 



THE ELEMENTARY SCHOOL FIGURES 25 

Through insufficient shoulder rotation, the turn is often jerked instead of being 

smoothly skated; also the lack of sufficient rotation causes the skater to complete the 

turn by a pull entirely from the ankle, causing the second half of this three to be hooked 

at the beginning, giving the skater, after the turn, a stronger edge than before the turn. 





%0 19 



FIGURE 9. INSIDE FORWARD AND OUTSIDE BACK THREE 



The second half of this figure No. 9 is the back outside Three. 

The skater commences in the same manner as for a back outside eight, but the un- 
employed leg remains in front up to the turn. The body, which at the commencement is 
strongly inclined, is somewhat straightened when approaching the turn, and the unem- 
ployed foot comes gradually nearer to the tracing foot, with the leading shoulder held 



26 SKATING WITH BROR MEYER 

well back and lowered until the heel of the tracing foot can be seen between the arm and 
the hip. The turn is made on the back part of the skate. 

The skater sinks on the employed knee immediately after the turn whilst keeping the 
body in an erect position; then increases the distance between the unemployed and the 
tracing foot, at the same time lowering the arms. 

After the turn, the unemployed foot is held low and the toe points in the direction of 
progression. The head should be held erect and looking round the curve, in order to 
make the second half of this three symmetrical. 

THE CHIEF FAULTS IN SKATING THE OUTSIDE BACK THREE 

The skater commences by making a straight line instead of a perfect curve. The 
unemployed foot is not held directly over the print, and the body not straightened when 
coming up to the turn. 

The feet are too far apart at the turn. 

Unemployed foot held too high. 

Second half of the three too small, either through the arms not being lowered suf- 
ficiently or being swung round or too great inclination of the body, or the skater looking 
inside the print, or even the unemployed foot being carried too far inside the print. 

DOUBLE-THREES 

The double-three consists of two equal turns on the circumference of a circle. 
In general, these are skated in the same manner as the single threes, and should only be 
practised when these are skated fairly proficiently. 

OUTSIDE FORWARD DOUBLE-THREE 

FIGURE lO 

This figure should be commenced on an outside forward edge with strong inclination 
of the body, and care must be taken that the first curve is not made larger than the 
following curves. The first turn is made by the rotation of the shoulders in the 
same manner as the plain outside forward three; after this turn the shoulders are 
gradually rotated to enable the skater to be in the correct position for the inside 
back three turn. 

The unemployed leg (which before and after the first three has been held behind) 
is brought slowly forward, and kept as close as possible to the tracing foot. This move- 
ment should be so timed that at the second turn the unemployed foot has just passed 
the tracing foot. 



THE ELEMENTARY SCHOOL FIGURES 27 

The strong inclination of the body at the commencement of the figure is gradually 
reduced toward the first turn and kept so during the rest of the figure, in order to make 
the same large and symmetrical. The skater should take care to look only in the direc- 
tion of motion — not to the centre of the double-three — after the second turn. 




FIGURE 10. OUTSIDE FORWARD DOUBLE-THREE 



The skater should avoid swinging the balance leg loosely after the first turn — as it 
is liable to swing too far away and also inside the print preventing the skater recovering 
the correct position for the second turn. These rules apply to all the double-threes, 
but more particularly to the outside forward. 

Most skaters have diflficulty in making the curve after the first turn evenly rounded, 
caused by an uneven rotation of the shoulders, as well as the fore foot being swung too 
far away from the employed foot. 



28 



SKATING WITH BROR MEYER 






^-^^J'AjLX 



FIGURE II. INSIDE FORWARD DOUBLE-THREE 



INSIDE FORWARD DOUBLE-THREE 

FIGURE II 

Commence on a strong inside forward edge and do not make the first curve too 
large. The first turn is identical with the plain inside forward three. After this turn, 
the rotation of the shoulders is slowly continued, and the unemployed leg (which is 
now behind) is brought forward shortly before the second turn is to be made, so that this 
turn is skated in the same manner as the plain outside back three. 

The skater should stand erect at the first turn with the unemployed foot under 
great control and not too far away. 



THE ELEMENTARY SCHOOL FIGURES 



29 





FIGURE 12. OUTSIDE BACK DOUBLE-THREE 

OUTSIDE BACK DOUBLE-THREE 

FIGURE 12 

Commence as if for a back outside eight, but with greater incHnation of the body 
and a more strongly bent skating knee. The first turn is identical with the plain outside 
back three. After the turn, the rotation of the shoulders is gradually continued and 
the unemployed leg is brought slowly backward and a little inside the print, in order to 
obtain more easily (i) A smooth and even second curve. (2) The correct position of the 
body for making the second turn, this being the same position as for the plain inside for- 
ward three. 



30 SKATING WITH BROR MEYER 

INSIDE BACK DOUBLE-THREE 

FIGURE 13 

After a strong take-oft the first turn is made as previously described. The shoul- 
ders continue their rotation after the turn and the body leans slightly forward, enabling 
the second turn and the tracing afterward to be more easily obtained. Before the first 




.•tt-t4.^ 




FIGURE 13. INSIDE BACK DOUBLE-THREE 

turn the unemployed foot is held in front, afterward behind. At the second turn the 
unemployed foot moves in the same manner as in the plain outside forward three. 

THE CHIEF FAULTS IN SKATING THE DOUBLE-THREES 

First curve too large and flat. The first turn too early, and the shoulders afterward 
unevenly rotated, causing the second curve to be flattened in the centre. 

The second turn also made too soon (generally due to wrong turning of the shoulder 
rotation), and not with an upright body position, causing the third curve to be too small. 



THE ELEMENTARY SCHOOL FIGURES 31 

LOOPS 
The skater has now arrived at a class of school figures which demand still greater care 
in the control of the body and also a more perfect balance. Loops require daily prac- 
tise as they are difficult to acquire, and facility of execution is easily lost. 




^\\t^f4ttt"k 




FIGURE 14. OUTSIDE FORWARD LOOP 

The figure of a loop is made on the same edge during its execution. The loop itself 
should be oval with no corners at the top and in width about two thirds of its height. 
Curves of equal size should be made on each side of the loop. 

OUTSIDE FORWARD LOOP 

FIGURE 14 

The skater commences on a strongly bent knee — on a sharp edge, with the shoulders 
parallel with the long axis. Immediately after the commencement the shoulders start 
to rotate with the curve whilst the unemployed foot remains in the rear. The body 



32 SKATING WITH BROR MEYER 

presses well into the circle and the skater leans slightly forward. Consequent upon the 
leaning of the body and the rotation of the shoulders, the curve is reduced to a smaller 
radius. When approaching the loop, at which point the skater as the phrase goes, is 
"wound and looking around himself," the unemployed foot is moved a little outside the 
print and carried forward, with the toe pointing inward, as it passes, care being taken that 
the tracing knee still remains well bent and that the weight of the body is slightly in ad- 
vance. The rotation will now have carried the unemployed shoulder strongly forward, 
and attention must be paid to the employed shoulder which should be equally as strongly 
drawn backward, this being of great assistance when coming out of the loop. If the 
skater has complied with the foregoing directions, a correct loop will be made; but he is 
then faced with the difficulty of coming out of the loop on a curve of equal size with the 
one going into the loop. 

After the skater has passed the summit of the loop, the employed arm (which has 
been held strongly backward) should be lowered, and the employed shoulder moved 
forward until the shoulders are at right angles to the tracing. The body should be kept 
upright and the tracing knee straightened; the head, which has been turned inward, now 
looks round the curve; the unemployed foot should be held in front — and if possible 
outside the tracing and the free leg held rigid, with the knee open and toe well pointed 
but never crossing the trace; and the arms must be held rather low, in order to prevent 
the second curve being made too small. 

THE CHIEF FAULTS IN SKATING THE OUTSIDE FORWARD LOOP 

Too vigorous a start and insufficient inclination of the body at the commencement, 
causing the first curve to be too large. 

The rotation of the shoulders begins too late, and is consequently too rapid. 

The skating knee insufficiently bent from the start to the end of the loop itself, mak- 
ing it impossible for the skater to glide out of the loop on a large curve. 

The unemployed foot is carried too far outside the print at the commencement, 
and is brought forward too soon, preventing the loop from being properly faced on the 
long axis. 

When approaching the loop, the employed arm is not taken sufficiently backward, 
and thus fails to assist the skater to come out of the loop when he needs to "unwind." 

The employed knee is straightened before the summit of the loop is passed, causing 
a crosscut to be made. 

After the loop, the arms are held too high, likewise the unemployed foot. 

After the loop, the unemployed foot is crossed over the print, and the skater looks 
over the employed shoulder, causing the second curve to be too small. 



THE ELEMENTARY SCHOOL FIGURES 



33 




FIGURE 15. INSIDE FORWARD LOOP 

INSIDE FORWARD LOOP 

The skater commences on a strongly bent knee, with the shoulders approximately 
over the long axis, the unemployed foot directly over the print, and the weight of the 
body inside the print. When about half way between start and loop, the unemployed 
hip and shoulder are gradually drawn back and the shoulders are slightly rotated and the 
unemployed foot is gradually moved outside the print, i.e. away from the centre of the 
figure, causing the skater to be on a sharper edge and to glide into the loop. The unem- 
ployed foot should now be brought forward, passing close to the tracing foot when at 
the top of the loop, and be held over the tracing line. During this movement of the un- 
employed foot, the body becomes more erect and when coming out of the loop, the trac- 
ing knee is straightened, at the same time the unemployed shoulder is brought forward 
so that the shoulders are at right angles to the tracing. The balance leg is held out- 
side the print. This prevents it pressing too strongly upon the edge, and also gives a 
good curve after the loop i.e. a curve approximately equal to the curve going in. 

Immediately after the body is raised, the skater should be looking round the curve. 



34 SKATING WITH BROR MEYER 

THE CHIEF FAULTS IN SKATING THE INSIDE FORWARD LOOP 

First curve too large and skated too quickly. 

Too strong a rotation of the shoulders whilst the actual loop is being made. 
Unemployed foot not passing near enough to the tracing foot, and after the loop, held 
inside the print causing the second curve to be too small. 

OUTSIDE BACK LOOP 

FIGURE l6 

This figure is commenced in the same manner as the outside back eight only with 
reduced speed or force, i.e., with strongly bent tracing knee, unemployed shoulder and 
arm held backward, unemployed leg remaining in front, and the skater looking over the 
unemployed shoulder. If the shoulders are well rotated and the free foot held well 
in front this body position brings the skater on to a very keen edge and so into the loop. 
Shortly before the loop is made (on the front part of the skate) the unemployed foot is 




FIGURE l6. OUTSIDE BACK LOOP 



THE ELEMENTARY SCHOOL FIGURES 35 

brought outside the print and carried backward. When passing the summit of the 
loop the skater "sits" on the ball of the foot and then the body is straightened from 
the tracing knee, whilst the shoulders and head retain their position. 

Through the strong inclination of the body during the first curve, and the straight- 
ening of the body later, and holding the free leg under control outside the print after the 
loop the skater is able to make both curves equal in size. 

THE CHIEF FAULTS IN SKATING THE OUTSIDE BACK LOOP 

Too vigorous a start. 

Employed knee insufficiently bent at the commencement. 

Position of the body too erect, causing the first curve to be too large and flattened. 

Unemployed leg moved outside the print and taken backward too early, causing the 
loop to be made before the skater is at the long axis of the figure. 

Body insufficiently straightened when coming out of the loop, causing the second 
curve to be too small. 




36 SKATING WITH BROR MEYER 

INSIDE BACK LOOP 

FIGURE 17 

This fitj:ui"e is commenced in the same manner as the back' inside eight, only with re- 
duced speed or force, i.e. with strongly bent tracing knee, employed shoulder held back, 
and the unemployed foot remaining in front inside the print. By pressing the employed 
arm rather more backward whilst still retaining the strongly bent knee, the skater comes 
on to a keener edge and when approaching the loop, if the unemployed foot be moved 
outside the print, the loop is almost bound to come. The unemployed foot does not 
now retain its position, i.e. outside the print, but when the skater is coming out of the 
loop it passes close to the tracing foot and is carried backward well over the trace with 
open knee; the body at the same time being straightened. After completing the loop, 
the skater looks tow ard the cttmmencement of the next curve. 

riiis loop is made on the front part of the skate. 

THE CHIEF FAULTS IN SKATING THE INSIDE BACK LOOP 

Bad start, i.e. not at once on the inside edge, because the heel of the tracing foot is 
not turned out enough. 

Unemployed foot carried outside the jirint too soon, causing the loop to be made 
before the skater is at the long axis of the figure. 

Body insufficiently straightened after the loop, causing the second curve to be too 
small. 

All the four loops are often skated too quickly. 

The greatest difficulty when learning the loops is to find a right balance during the 
looj) itself. In order to get the right "feeling" don't make the first half too large. 

THE BRACKETS 
The brackets are turns w ith reverse rotation to the Threes, so that the turns (made on 
the long axis) are pointing away from, instead of toward each other. As in Threes, so 
in Brackets, the initial edge is held to the very moment of the turn and the other edge is 
cleanly taken just as the turn is made. In order to accomplish this figure correctly, 
it is necessary that the skater slu^uld give careful attention to the movement of the 
shoulders and the hi[is, and these are assisted by the movement of the unemployed leg. 

OUTSIDE FORWARD AND INSIDE BACK BRACKETS 

FIC7URE 18 

The skater commences this figure in the same position as for a forward outside edge, 
with the unemployed foot and shoulder held well back. Through a well bent tracing 
knee and a strong inclination of the body toward the centre, the skater is immediately 



THE ELEMENTARY SCHOOL FIGURES' 



37 




,,W^I.f 




;,(i/=;'.f^i-^ 



.iV*v 



W»^5^^PW»K^,) 



y^,; f'li^f i 








< <« 

FIGURE iS. OUTSIDE FORWARD AND INSIDE BACK BRACICETS 

brought on to a keen and firm edge, which must be held as far as the turn (made on the 
front part of the skate). The unemployed foot is held inside the print, in order to en- 
able the skater to maintain a better balance over his skate. Halfway between start 
and turn the skater has the most pronounced bending of the employed knee and leaning 
to centre. When approaching the turn, the balance foot is brought nearer to the trac- 
ing foot, and close behind it, still retaining its position inside the print. Care must be 
taken that the body is well balanced and leaning slightly inward, also that the shoulders 
are parallel with the tracing. With the turn, the skater comes on to the inside back 



38 SKATING WITH BROR MEYER 

edge; the inclination of the body toward the centre of the circle is increased and more- 
over comes into the direction of motion; the employed shoulder is held rather lower and 
brought quickly backward; and the unemployed arm goes into the correct position for an 
inside back edge. The curve after the turn is completed in the same manner as the inside 
back eight. The change in the position of the body is helped by (i) The unemployed 
foot being held behind the tracing foot and inside the print before the turn, afterward 
coming quickly in front and being held outside the print. (2) The tracing knee be- 
ing straightened before the turn, and well bent afterward. 

If these movements are made quickly and in unison, and with full control of the hips, 
the skater will have made a correct bracket, i.e., turns on the long axis, and both sides of 
the bracket of equal size and evenly traced. 

In all brackets the skater must take great care that the edge is only changed at the 
precise moment of the turn. The skate must not on any account have travelled on the 
flat, either before or after the turn. 

If he so desires, the skater may look down at the employed foot, to assist him to ob- 
tain an even inclination of the body before and after the turn, and to control the move- 
ment of the skating foot, so that he insures it making a turn of 180 degrees. 

The second portion of this figure, the inside back bracket, is skated as follows: 
Commencing as for an inside back edge, the unemployed foot which has been held 
in front is carried backward, very clOse to the tracing foot when passing. At the same 
time, the tracing knee is strongly bent and the body inclined toward the centre. This 
enables the skater to make a true curve without any depressions. About halfway through 
the first curve and as the free foot is passing the tracing foot the shoulders are rotated 
against the curve and brought flat with the print whilst the body still retains its inclina- 
tion. The unemployed arm is moved as far as possible away from the centre while 
still retaining a firm inner edge. Immediately before the turn is to be made the 
unemployed foot is lowered and brought nearer to the employed and held slightly outside 
the print. At the turn, the body must be well balanced on the skate with the shoulders 
parallel with the tracing. The turn is made on the back part of the skate, and the 
skater at once sinks on the tracing knee. The unemployed shoulder (which has been 
held backward) must be moved quickly forward, with the employed shoulder held 
rather lower and with the free leg remaining behind. During the second curve the un- 
employed foot is brought forward in order to be in correct position for the new take-off. 
This turn is learned easier, if the skater, just at the turn, looks down at the skating 
heel. 



THE ELEMENTARY SCHOOL FIGURES 



39 




FIGURE 19. INSIDE FORWARD AND OUTSIDE BACK BRACKETS 

INSIDE FORWARD AND OUTSIDE BACK BRACKETS 

FIGURE 19 

The commencement is similar to that of the inside forward edge, but the shoulders 
are not quite so flat with the print. The skater at once commences to rotate his shoul- 
ders with the curve, and brings the unemployed foot forward. About halfway through 
the first curve and as the free foot passes forward the shoulders commence to rotate 
against the curve, so that at the turn the unemployed shoulder is over the tracing, with 
a slight inward tendency of the body and the free foot outside the print. At this point 



40 SKATING WITH BROR MEYER 

care must be taken'that'the skate is still on the inside edge. The turn is now made on 
the'^front part of the skate by a quick backward movement of the unemployed shoulder. 
At the same time the unemployed foot, which has been held in front and just outside the 
tracing, is carried backward and held inside the print. The body, which has been erect 
at the turn but with slight inclination to the centre, now leans more toward the centre and 
the tracing knee is well bent, so that the skater is on a good outside back edge, and is 
still looking in the direction of motion. 

The second half of this figure, the outside back bracket, is commenced with a 
strong inclination of the body toward the centre, a well-bent skating knee, shoulders al- 
most square with the tracing line, and with the unemployed leg held in front, slightly 
outside the print. Shortly after the commencement, the unemployed foot is carried 
slightly backward, care being taken to keep the shoulder position, and about halfway 
through the first curve the shoulders commence to rotate against the curve and the 
unemployed foot is again brought forward, while the skater looks toward the place of 
the coming turn. Just before the turn, the body must be well balanced on the skate, 
with a slight inward tendency, which enables the skater to hold the edge until the turn. 
At the same time, the shoulders must be flat with the print, also the distance between 
the feet must not be very great. With the turn, which must be done quickly on the heel 
of the skate, the body inclines more toward the centre, the tracing knee is again bent, 
the unemployed foot remains behind, being held slightly outside the print, with well 
open knee, and the employed shoulder remains forward over the tracing. The turn 
is more easily and safely effected if the skater at the moment of the turn looks at the 
skating heel between the employed shoulder and hip. During this inside edge the un- 
employed foot is moved forward, so as to be in the correct position for the new take-off. 



THE CHIEF FAULTS IN SKATING THE BRACKETS 

During the first curve the tracing knee is not sufficiently bent and is too suddenly 
stretched, causing depressed curves. 

The body not sufiiciently erect at the turn, badly balanced on the skate, and not 
inclined toward the centre, causing the edge to be easily lost before and after the turn. 

The turn itself is incorrectly faced even though made on the long axis; because the 
skater takes edges of different inclination before and after the turn amd the two halves 
are unequal. 

Unemployed foot too far away from the tracing foot at the turns. 

The turns often done too slowly. 

The body not rigid at the moment of turn. 



THE ELEMENTARY SCHOOL FIGURES 



41 




FIGURE ' 20. OUTSIDE FORWARD AND OUTSIDE BACK ROCKERS 



OUTSIDE FORWARD AND OUTSIDE BACK ROCKERS 

FIGURE 20 

The next figures in the Schedule are the rockers: outside forward and outside 
backward. They consist of an outside forward semicircle, the turn and a full outside back 
circle on one foot; an outside back semicircle, the turn and an outside forward circle on 
the other foot. The whole figure thus makes three equal circles. The forward rocker, 
in my opinion, is one of the most difficult figures to acquire and has to be practised even 
more seriously than the other figures. 



42 SKATING WITH BROR MEYER 

In the first half-circle the shoulders and unemployed leg work in the direction of 
motion, and with the curve. On this account the turns point toward each other and 
should be made on the long axis. 

The rockers as well as the following figures, the counters, are all skated on one edge 
throughout the figure. This is not changed at the turns as in the figures we have 
mentioned to date — threes, double-threes, or brackets. By this I mean that outside 
forward and outside back rockers and similar counters are all skated on the outside 
edge without change to the inside at any point. Likewise inside rockers and counters 
are skated entirely on the inside edge. 

The outside forward rocker is skated in the following manner: 

Commencing as for an outside forward edge, the skater strongly rotates both shoul- 
ders — the rotation being with the curve, and at the same time the unemployed foot is 
brought forward (passing close to the tracing foot) and carried across the print. During 
this movement the tracing knee is still more strongly bent, enabling the skater to press 
on the curve and to be on a keener edge. This assists him to make the first half-circle 
correct in shape and to be in position for making a correct turn. Shortly before the turn 
the skater gradually straightens somewhat from this extreme position, so that at the 
moment of the turn he is standing erect. At the same time, the unemployed leg is 
slightly raised and the shoulders are preparing to be in correct position for the resulting 
outside back edge. Directly after the turn, which must be done quickly on the front part 
of the skate, the tracing knee is again strongly bent, the unemployed foot is held behind 
the tracing foot, well inside the circle, and the weight of the body falls into the centre of 
the new circle, i.e., into the plane of progression, with the unemployed shoulder well 
lowered. After completing these movements, and as soon as the skater feels he has a 
good balance, the tracing knee is gently straightened to prevent the outside back edge 
falling in. To give further assistance in making a perfect circle, the shoulders and arms 
are turned round as far as possible. Just after the turn the skater looks well in advance, 
in the direction of progression. It is helpful in the acquisition of this figure, before 
the turn, to wrap the employed arm and hand with the palm out around the back as 
far as possible and after the turn wrap the unemployed arm in the same manner. This 
should be modified as the figure is mastered. 

The outside back rocker is skated as follows : 

Commencing as for an outside back edge, the unemployed foot is slowly moved back- 
ward, passing near to the tracing foot, the shoulders are strongly rotated with the curve, 
and the employed knee remains strongly bent. When approaching the turn the skater 
straightens the tracing knee. The unemployed foot is brought nearer to and behind 
the skating heel, and the unemployed leg draws the foot directly under the body, so 



THE ELEMENTARY SCHOOL FIGURES 43 

that at the turn the skater is in an erect position. The turn is then made on the back 
part of the skate, and the unemployed arm and shoulder are brought forward and pressed 
strongly with the curve, the free foot is well raised behind, and the weight of the body held 
well forward, otherwise the curve will be torn. At the moment of turning as well as 
after the skater may look at the place of turning; when the outside forward edge is firmly 
established the skater looks ahead. 

THE CHIEF FAULTS IN SKATING THE OUTSIDE ROCKERS 

The shoulders are not rotated sufficiently with the curve during the first half of the 
circle, and the unemployed foot does not pass near enough to the tracing foot. 

At the moment of the turn the body is not sufficiently upright, and the turn is made 
too slowly. 

The shoulders work too slowly at the turn, and the tracing knee is insufficiently bent 
after the turn. 

The body does not at once fall into the plane of progression. 

The shoulders and arms are not brought quickly enough into the correct position. 

Great care must be taken to avoid these faults, otherwise the skater makes a change 
of edge after the turn, i.e., he comes on to an inside instead of still retaining the outside 
edge. 

The centre circle is often made larger than the others and is flattened at the sides. 

INSIDE FORWARD AND INSIDE BACK ROCKERS 

FIGURE 21 

The inside forward rocker is skated in the following manner: 

Commencing as for an inside forward edge, both shoulders at once commence to ro- 
tate with the curve, and the employed foot is brought forward (passing close to the 
tracing foot). Shortly before and at the turn the shoulders are unwound so that the 
unemployed arm, which before the turn was held strongly backward, now comes in front 
of the body. At the moment when the shoulders are making this rapid change, the 
unemployed foot must be assisting the movement. As previously stated, the unem- 
ployed foot is held forward, then shortly before the turn, is brought nearer to the tracing 
foot, enabling the body to be well poised over the skate whilst retaining a good inside 
edge. The unemployed foot now describes a small loop in the air, and as the skate 
comes on to the inside back edge is held high in front and slightly across the print. After 
the turn the tracing knee is again strongly bent, and the skater should look down be- 
tween the employed shoulder and hip at the heel of the tracing foot, thus enabling the 
skater to press his weight backward into the new plane, and to have through this a 
strong inside edge. 



44 



SKATING WITH BROR MEYER 





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FIGURE 21. INSIDE FORWARD AND INSIDE BACK ROCKERS 



The turn must be made quickly on the front part of the skate and be pointing in the 
long axis. 

The inside back circle after the turn is skated in exactly the same way as the inside 
back edge. 

The second half of this figure, the inside back rocker, is skated as follows: 

Commencing as for a plain inside back edge, the unemployed foot is immediately 
moved slowly backward, passing very close to the tracing foot. If the skater has made 



THE ELEMENTARY SCHOOL FIGURES 45 

a correct start, the employed arm and shoulder should be leading, and they are now 
pressed backward still further. When approaching the turn, the unemployed foot, 
which is now behind and held a little outside the print, is brought nearer to the tracing 
foot, so that the body can be held erect even though the skater is on a keen inside edge. 
The tracing foot is now drawn under the body and by a quick forward movement of the 
employed shoulder the turn is made on the back part of the skate. In conjunction with 
this shoulder movement, the unemployed foot leaves the tracing foot and after the turn 
is held behind and slightly outside the print, enabling the skater to have the weight of his 
body in advance and to be pressing on the curve. Shortly before and for a moment 
after the turn the skater may look at the place of turning. During the whole circle after 
the turn the employed shoulder remains forward and the unemployed foot is brought 
forward when the skater is about halfway through the circle. 

THE CHIEF FAULTS IN SKATING THE INSIDE ROCKERS 

The shoulders are insufficiently rotated in the first half-circle, and the unemployed 
foot is swung instead of being moved gradually, and does not pass sufficiently close to 
the tracing foot. 

The body is not over the skate at the turn, and the turn is made too slowly. 

The edge is not keen enough after the turn, consequent upon the tracing knee being 
insufficiently bent, and the weight of the body is not pressing sufficiently on the curve. 

The turns are not made on the long axis; the centre circle becomes too large and not 
circular in shape. 

THE COUNTERS 
OUTSIDE FORWARD AND OUTSIDE BACK COUNTERS 

FIGURE 22 

This figure also makes three circles, but diff^ers from the rockers in that the turns 
are made with the reverse rotation, "against the curve." 

Therefore the turns while made on the long axis are pointing away from, instead of 
toward each other. 

The outside forward counter is skated in the following manner: 

Commencing as for an outside forward edge, the shoulders are slowly rotated with the 
curve but only slightly and the unemployed foot is gradually brought forward. After 
the skater has covered about two thirds of the first curve the shoulders commence 
to rotate against the curve whilst the unemployed foot remains forward. 

Prior to the turn, the shoulders are flat with the tracing, which. at this point becomes 
somewhat flatter on account of the previously reversed rotation. The unemployed foot 



46 SKATING WITH BROR MEYER 

is now carried backward parallel with the tracing, and during this movement the unem- 
ployed shoulder is also forced further backward to make the new circle. Through this 
combined movement of the leg and shoulder, the turn is made, on the front part of the 
skate, and should be executed as quickly as possible. Following this rapid turn, the 
unemployed foot (which was previously behind) is now in front, and a little outside the 
print, with the shoulders almost square over the print, in which position it is retained 
until approximately one third through the circle, when its movement conforms with the 
outside back eight. The greatest bend of the tracing knee is during the rotation of the 
shoulders after the commencement of the figure. It is straightened during the unwind- 
ing before the turn and strongly bent immediately afterward. 

THE CHIEF FAULTS IN SKATING THE OUTSIDE FORWARD COUNTER 

The bending and straightening of the tracing knee is not done smoothly, through this 
the shoulders and unemployed leg do not work in unison. The skater, through timidity, 
leans too early before the turn into the plane of the second curve, thus causing a change 
to the inside edge before the turn. 

The first curve is not sufficiently rounded. 

The body is not upright at the turn; the turn is not made quickly enough, and does 
not point on the long axis. 

After the turn the tracing knee is not sufficiently bent and the skater, therefore, 
cannot rise sufficiently, causing the circle to be too small in comparison with the first 
half-circle. 

The second half of this figure is skated in the following manner: 

At the commencement of the figure the skater should be on a keen edge, with the 
body strongly inclined into the circle, the unemployed leg held in front and a little outside 
the print, and the shoulders about square with the tracing. Halfway through the 
first curve the unemployed leg passes to the rear but not too far and as it does so the 
tracing knee is more strongly bent. During this movement the shoulders by a rotation 
against the curve are brought flat with the print and the body is straightened, taking care 
that the edge is not lost. When approaching the turn, the unemployed foot is again 
brought forward and held near to the tracing foot. After the unemployed foot has 
attained this position, the turn is quickly made on the back part of the skate, and the 
skater at once sinks on the tracing knee. Particular attention must now be given to 
the employed shoulder and arm: they should be held strongly forward, with the skater 
looking a little outside the print. Neglect of this precaution causes the circle to be 
too small and also to fall in. This circle is now finished exactly as_^ the plain outside 
forward eight. 



THE ELEMENTARY SCHOOL FIGURES 



47 









f%iiittit^ i^ttttt^ 



FIGURE 22. OUTSIDE FORWARD AND OUTSIDE BACK COUNTERS 

THE CHIEF FAULTS IN SKATING THE OUTSIDE BACK COUNTER 

The first half-circle is too large and too flat. 

The tracing knee, the unemployed foot, and the shoulders are not working smoothly. 

The unemployed foot is carried too far backward before the turn and across the 
line. The body is not erect at the turn. 

The turn is made too slowly and is not pointing on the long axis. 

Insufficiently bent tracing knee after the turn, causing difficulty in holding the edge, 
even though the body is properly balanced. The employed shoulder and arms are 
pressing too much into the second circle, causing it to be too small. 



48 SKATING WITH BROR MEYER 

INSIDE FORWARD AND INSIDE BACK COUNTERS 

FIGURE 23 

Commencing in the same manner as for the inside forward eight, the shoulders are 
rotated with the curve, and at the same time the unemployed foot is moved slowly for- 
ward, passing close to the tracing foot. When about two thirds distance through the 
first curve, the shoulders commence to rotate against the curve and the inclination of the 
body is lessened, care being taken that the edge is not lost. Just before the turn the un- 
employed foot is brought back to the tracing foot, and after the turn is at once pushed 
quickly forward and held slightly inside the print. The turn comes by the contrary ro- 
tation of the shoulders together with a quick movement of the unemployed foot, and is 
made on the front part of the skate. After the turn the shoulders are approximately 
square with the print, the unemployed foot is first rigid in advance, and then passes 
backward in the ordinary way as for inside back edge. With the turn the weight of 
the body is thrown into the new circle. The tracing knee, which is somewhat straight- 
ened before the turn, becomes well bent immediately afterward and is gradually straight- 
ened as soon as the skater has established firmly the inside back edge. 

THE CHIEF FAULTS IN SKATING THE INSIDE FORWARD COUNTER 

In the first half-circle the unemployed foot is brought forward too rapidly, and does 
not pass near to the tracing foot. 

The counter rotation of the shoulders commences too late, causing the inside edge 
to be easily lost and inability to place the turn on the long axis. 

At the turn the unemployed foot moves too slowly, causing loss of power for the 
second curve. 

The second half of this figure, the inside back counter, is skated as follows: 
Commencing in the same manner as for the inside back eight, the unemployed foot 
moves slowly backward, passing near to the tracing foot. When about two thirds dis- 
tance through the first curve, the shoulders commence to rotate against the curve. 
Just before the turn, the unemployed foot is brought near to the tracing foot, and is held 
slightly outside the print. Immediately after this movement and with the body held 
erect the skater makes the turn on the back part of the skate, after which he is in the 
position for an inside forward eight and the edge is completed accordingly. 

THE CHIEF FAULTS IN SKATING THE INSIDE BACK COUNTER 

The unemployed foot is not moved smoothly in the first half-circle. 
The counter rotation commences too soon, causing the edge to be lost and an incor- 
rect tracing to be made. The turn is not on the long axis. 



THE ELEMENTARY SCHOOL FIGURES 



49 





Jv^ttltl^U^tttntt^ 



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FIGURE 23. INSIDE FORWARD AND INSIDE BACK COUNTERS 

After the turn the correct position for an inside forward edge is not taken up, and 
the shoulders rotate too early, causing the circle to fall in. The edge before the turn is 
lost because the skater rocks over too early into the plane of the second curve. 

The foregoing so-called "Elementary" school figures should be diligently practised, 
as the skater has now reached the more advanced figures, which combine the various 
edges, threes, loops, and brackets with the changes of edge. It will not be necessary 
to describe these figures in detail since they do not diff^er greatly from the descriptions 
already given, and the illustrations will give assistance to the skater when he essays their 



50 SKATING WITH BROR MEYER 

attempt. The various one-foot eights could be called the key for the following figures. 
The better the skater understands and executes them the easier he will master the 
"paragraphs." 

The first figure of this nature is the one-foot eight forward, consisting of two equal- 
sized circles joined by a change of edge made on the one foot in eight form. 

THE ADVANCED SCHOOL FIGURES 

ONE-FOOT EIGHT, FORWARD 

FIGURE 24 

The commencement is similar to the plain outside forward eight, except that the 
shoulders are less flat to the print. The body is strongly inclined, giving a very keen 
edge, which enables the first circle to be skated fairly small and yet with plenty of swing. 
At about halfway through the first circle the shoulders rotate slowly with the curve and 
the unemployed foot moves forward whilst the tracing knee becomes still more bent. 
If these movements have been carried out smoothly and correctly, the skater should be 
approaching the change of edge. The unemployed leg is now kept well under control 
and slightly raised, and during the change of edge is brought quickly backward whilst 
the tracing knee is somewhat straightened. Immediately the change has been made, 
the skater again sinks on the tracing knee (the body having taken up the new inclina- 
tion) and takes up the position for an inside fo'rward edge, and completes the circle. 

The other foot commences the new circle on the inside edge in the ordinary position, 
with a strong inclination of the body, which is retained until about halfway through the 
circle When the shoulders commence to rotate. The unemployed foot moves gradually 
forward, passing close to the tracing foot, and the tracing knee becomes still more bent. 
With this extra bend of the knee the body leans slightly backward and the unemployed 
shoulder is somewhat lower. During the change of edge the tracing knee is straight- 
ened and the unemployed foot goes quickly to the rear. With this movement, the 
weight of the body is brought forward and into the new circle. The skater is now in the 
following position: Unemployed shoulder in front and employed shoulder and arm 
held slightly backward; through this the unemployed arm is held rather higher, and the 
hand is forward over the tracing. If this position be not overdone, the skater may re- 
tain it whilst completing the circle, the unemployed foot moving in the ordinary way, 
about halfway through the circle. In both eights the skater should aim to in- 
crease speed at the change of edge — but be careful to make the change smoothly with 
no corner or flatness before or after it. The change occurs at right angles to the long 
axis. 



THE ADVANCED SCHOOL FIGURES 



51 








FIGURE 24. ONE-FOOT EIGHT, FORWARD 

THE CHIEF FAULTS IN SKATING THE ONE-FOOT EIGHT, FORWARD 

Take-off too weak. Insufficient inclination of the body at the commencement. 

Unemployed leg moved forward too soon. 

The change of edge made too soon, i.e., not on the long axis. 

The bending, straightening, and bending of the tracing knee, before, during, and 
after the change, is not done smoothly, causing an incorrect tracing. 

Incorrect position of the arms and too strongly inclined body after the change, 
causing the second circle to be smaller than the first. The unemployed foot is moved 
too rapidly and also too early when skating the second circle, causing unevenness. 



52 



SKATING WITH BROR MEYER 



THE ONE-FOOT EIGHT BACKWARD 

FIGURE 25 

Commencing with a strong take-off on a well-bent knee, the body leans well back- 
ward in the direction of motion, and is strongly inclined toward the centre of the circle; 
the shoulders having almost the same position as the plain outside back eight with the 
unemployed foot held in front outside the print. When about one half of the first circle 
has been completed, the unemployed leg moves slowly backward and at the same time the 
body takes a slightly forward lean, the skater being on a strongly bent tracing knee. 
When approaching the change, the unemployed leg is lifted solely from the hip socket, 
the tracing knee is stretched, and the change of edge comes through the transfer of the 
body into the new plane combined with a quick forward movement (without jerk) of the 
unemployed foot. With the'changing of the body's weight, the shoulders and arms take 
up nearly the'same position as for the ordinary inside back eight, and the tracing knee 
is again bent. This position is retained until halfway through the circle, which is then 
completed in the ordinary manner. 

The second half of this figure is commenced on the inside edge of the other foot. 

With a strong take-off on a clean inside edge, the skater commences in an exagger- 
ated inside back edge position on a very strongly bent knee. This position is retained 
until about halfway through the first circle, when the unemployed foot is gradually 
moved backward, passing very near to the tracing foot. Toward the end of the first 
circle, the tracing knee becomes still more bent and the shoulders are still further rotated 
with the curve, the weight of the body being slightly forward. The unemployed shoulder 
is somewhat lower while the skater is still looking over the employed shoulder. The 
change of edge should now be made rather quickly, yet smoothly, in this manner: 

The tracing knee straightens and the weight of the body goes backward toward the 
centre of the new circle, with the shoulders and arms in position for an outside back edge; 
the unemployed shoulder is lowered, and the unemployed leg is brought forward and 
held over the print. The employed knee is again bent, and the skater looks over the un- 
employed shoulder around the curve. The edge is completed in the ordinary manner. 
As the skate rocks over more easily from an outside to an inside edge than the reverse I 
would advise the skater to bend the employed knee more before and after changes from 
the inside to outside edge than the reverse change. 

THE CHIEF FAULTS IN SKATING THE ONE FOOT EIGHT BACKWARD 

Take-off too weak. The body does not lean sufficiently in the direction of motion. 
The tracing knee is too stiff, causing the first circle to be too large. The commence- 
ment of the inside edge is not clean. 



THE ADVANCED SCHOOL FIGURES 



53 




FIGURE 25. THE ONE-FOOT EIGHT BACKWARD 



In the first circle, the movement of the unemployed foot is too early and too rapid; 
also the foot is carried too high, causing the change to be made too soon. 

The bend — raise — bend of the employed knee before and after the change is not 
smoothly carried out. 

At the actual change the skater does not make the best use of the weight of his body, 
causing loss of power. 

After the change the unemployed leg is moved too early, causing the second circle to 
fall in. 



54 



SKATING WITH BROR MEYER 




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THE ADVANCED SCHOOL FIGURES 



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THE ADVANCED SCHOOL FIGURES 



59 



THREE-CHANGE-THREE 

FIGURES 34 AND 35 

In order to accomplish these figures with the turns pointing on the long axis, with 
equal and symmetrical curves and with the change of edge in correct form, the skater 
has chiefly to think of the following points : 

Strong take-off on a well-bent knee. The first curve must not be too large and the 
shoulders must continue their rotation after the turn, with the tracing knee kept well 
bent. The change of edge must be done smoothly while the skater should accelerate 
his speed which is accomplished by the transfer of the body from one plane to the other, 
assisted by the movement of the unemployed leg. The tendency is to make the change 
too short and curl in after the change of edge. Another common fault is the losing of 
the'edge^before the second turn and too much edge afterward; the lattei being caused by 
a wrongly balanced turn, which also destroys its symmetry and prevents correct facing 
of the turn. 




FIGURE 35. BACKWARD THREE-CHANGE-THREE 



6o 



SKATING WITH BROR MEYER 




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THE ADVANCED SCHOOL FIGURES 



6i 




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62 



SKATING WITH BROR MEYER 




FIGURE 38. FORWARD LOOP-CHANGE-LOOP 



FORWARD LOOP-CHANGE-LOOP 

FIGURE 38 

Before the skater attempts this figure he should be able to execute reasonably well 
the forward loops and the one-foot eight, since the figure is an exceedingly difficult one 
and has to be practised very carefully .| 

With a moderately strong take-off the skater commences as for an ordinary forward 
loop, but with greater inclination of the body, a more strongly bent knee, and the weight 
of the body held in advance. This body position is retained during the loop and when 
coming out, the unemployed leg passes quickly forward so as to obtain the necessary 
swing for the change of edge. To assist this movement the tracing knee, which has 
been straightened somewhat after the loops, is again well bent. Before the change the 



THE ADVANCED SCHOOL FIGURES 



63 




FIGURE 39. BACKWARD LOOP-CHANGE-LOOP 

weight of the body goes backward; at the change it is again brought forward and into 
the new plane. The employed knee is straightened at the change, and well bent 
afterward ; at the same time the unemployed leg is brought backward rather quickly. 

The second loop is now skated opposite to the first, in the same manner as the plain 
forward loop, i.e., with a well-bent knee and careful action of the unemployed leg, which 
assists the skater to come out of the loop on a slightly straightened tracing knee. 

BACKWARD LOOP-CHANGE-LOOP 

FIGURE 39 

Before attempting this figure the skater should have thoroughly mastered the 
ordinary back loops and the changes-of-edge backward. 



64 



SKATING WITH BROR MEYER 




w 
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THE ADVANCED SCHOOL FIGURES 



65 




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66 SKATING WITH BR OR MEYER 

This figure is commenced in a similar manner to the plain back outside loop, but 
with greater inclination of the body, to prevent the first curve being made too large. 

The loops are skated in the usual manner, with the unemployed leg held behind when 
coming out of the loop. With regard to the changes-of-edge : the only respect in which 
they differ from the ordinary back changes is that before and after the actual change 
the tracing knee is more strongly bent, in order to obtain a more correct tracing, i.e., 
without the change being humped. 

THE CHIEF FAULTS IN SKATING THE FORWARD AND BACKWARD 

LOOP-CHANGE-LOOP 

Too powerful take-off. 

Insufficient inclination of the body into the circle, causing the first curve to be too 
large. 

After the first loop the tracing knee is often excessively straightened, causing an in- 
correctly shaped change. 

Second circle too small, loops unequal in size, incorrectly shaped, and not lying on the 
long axis. 

BRACKET-CHANGE-BRACKET 

FIGURES 40 AND 4I 

These are exceptionally diflficult figures to skate well, and it is essential to their 
successful accomplishment that the skater has perfected the ordinary brackets and the 
one-foot eights. The following are the main faults to guard against : 

Too powerful take-off, causing the first bracket to be too large and the change of edge 
to be jerky. 

The change too humped while speed is lost instead of gained. 

The brackets are not equal in size, and the turns are not facing correctly on the long 
axis. 



THE ADVANCED SCHOOL FIGURES 



67 



A.— THE ELEMENTARY SCHOOL FIGURES 



R — right 
1— left, 
f — forward 



Abbreviations 



b — backward, 
o — outside. 
i — inside. 



T — Three. 
LP — Loop. 
B — Bracket. 



RK— Rocker. 
C — Counter. 



Figure. 



No. 



Description. 



Factor 




I. 

2. 
3- 
4- 



Rfo— Lfo 
Rfi— Lfi 1 
Rbo— Lbo 
Rbi— Lbi 



CURVE EIGHT 




5a. Rfoi — Lfio . 

b. Lfoi— Rfio 

6a. Rboi — Lbio 

b. Lboi — Rbio 



CHANGE 



8 



THREE 



7. RfoTbi— LfoTbi 

8a. RfoTbi— LbiTfo 

b. LfoTbi— RbiTfo 

9a. RfiTbo— LboTfi 

b. LfiTbo— RboTfi 




10. 
II. 
12. 
13- 



RfoTbiTfo- 
RfiTboTfi- 
RboTfiTbo 
RbiTfoTbi- 



DOUBLE-THREE 

-LfoTbiTfo 
-LfiTboTfi 
-LboTfiTbo 
-LbiTfoTbi 



SKATING WITH BROR MEYER 



Figure 



No. 



Description 



Factor 




LOOP 



14. 


RfoLPfo— LfoLPfo 


!=;• 


RfiLPfi— LfiLPfi 


16. 


RboLPbo— LboLPbo . . 


17- 


RbiLPbi— LbiLPbi 




BRACKET 


i8a. 


RfoBbi— LbiBfo 


b. 


LfoBbi— RbiBfo . . 


19a. 


RfiBbo— LboBfi . . 


b. 


LfiBbo— RboBfi . . 





ROCKER 

RfoRKbo— LboRKfo ' . . 
LfoRKbo— RboRKfo . . 
RfiRKbi— LbiRKfi 
LfiRKbi— RbiRKfi 



4 
4 
4 
4 




22a. 

b. 
23a. 

b. 



RfoCbo- 
LfoCbo- 
RfiCbi- 
LfiCbi- 



— LboCfo 
-RboCfo 
-LbiCfi 
RbiCfi 



COUNTER 



THE ADVANCED SCHOOL FIGURES 



69 



B.— THE ADVANCED SCHOOL FIGURES 



No. 



Descriplior 



Factor 




24a. Rfoi — Lfio 

b. Lfoi— Rfio 

25a. Rboi — Lbio 

b. Lboi — Rbio 



ONE-FOOT EIGHT 




CHANGE-THREE 

26a. RfoiTbo — LboiTfo 

b. LfoiTbo— RboiTfo 

27a. RfioTbi — LbioTfi 

b. LfioTbi— RbioTfi 




CHANGE-DOUBLE-THREE 

28a. RfoiTboTfi— LfioTbiTfo 

b. LfoiTboTfi— RfioTblTfo 

29a. RboiTfoTbi — LbioTfiTbo 

b. LboiTfoTbi— RbioTfiTbo 






CHANGE-LOOP 


oa. 


RfoiLPfi— LfioLPfo 


b. 


LfoiLPfi— RfioLPfo 


la. 


RboiLPbi— LbioLPbo . . 


b. 


LboiLPbi— RbioLPbo . . 



7° 



SKATING WITH BROR MEYER 



Figure. 



No. 



Description. 



Factor 




CHANGE-BRACKET 

32a. RfoiBbo — LboiBfo 

b. LfoiBbo— RboiBfo 

33a. RfioBbi— LbioBfi 

b. LfioBbi— RbioBfi 




34a- 
b. 

3; a. 
b. 



THREE-CHANGE-THREE 

RfoTbioTfi— LfiTboiTfo 
LfoTbioTfi— RfiTboiTfo 
RboTfioTbi^LbiTfoiTbo 
LboTfioTbi— RbiTfoiTbo 




36a. 
b. 

37a- 
b. 



DOUBLE-THREE-CHANGE-DOUBLE-THREE 

RfoTbiTfoiTboTfi— LfiTboTfioTbiTfo 
LfoTbiTfoiTboTfi— RfiTboTfioTbiTfo 
RboTfiTboiTfoTbi— LbiTfoTbioTfiTbo 
LboTfiTboiTfoTbi— RblTfoTbioTfiTbo 




38a. 
b. 

39a- 
b. 



LOOP-CHANGE-LOOP 

RfoLPfoiLPfi— LfiLPfioLPfo 
LfoLPfoiLPfi— RfiLPfloLPfo 
RboLPboiLPbi— LbiLPbioLPbo 
LboLPboiLPbi— RbiLPbioLPbo 




BRACKET-CHANGE-BRACKET 

40a. RfoBbioBfi— LfiBboiBfo 

b. LfoBbioBfi— RfiBboiBfo 

41a. RboBfioBbl— LblBfoiBbo 

b. LboBfioBbi— RbiBfoiBbo 



4 
4 

S 
5 



FREE SKATING 




IN THE SWEDISH MAZURKA 



FREE SKATING 

Through practising the School Figures the skater attains "sureness and ease of 
control," and this being so, he can give more of his attention to another branch of the 
art — Free Skating. 

This should be taken up little by little as the skater becomes proficient in easier 
School Figures. 

Free Skating should consist of movements and combinations which are original and 
characteristic of the skater's individuality, particularly in competition work. Conse- 
quently, even if it were possible, it would be wrong to express more than general ideas rela- 
tive to the composition of a programme. A competition programme is judged by its 
contents and execution, but in my opinion the skater must impress upon his mind that 
"grace" is the highest essential; difficult movements and figures must only be incorpo- 
rated after considerable practice. 

THE CONTENTS OF A PROGRAMME 

Free Skating may comprise any movements which are aesthetically pleasing and 
consequently holds great interest for the skater. The variety of movements are illim- 
itable, but can be roughly divided into five classes: 

1. Field Combinations. 

2. Dance Steps. 

3. Spirals. 

4. Jumps. 

5. Spins and Pirouettes. 

Following are examples of the various classes, but these are given only as an aid to 
development and should not merely be copied. 

73 



FIELD COMBINATIONS 

Under this subdivision of Free Skating illustrations are shown of combinations that 
may contain any of the various edges, turns, jumps, two-foot whirls, etc. They should 
cover the greater part of the surface allotted to the skater and do not necessarily have to 
be timed to music. They may be skated in the form of an eight or double-eight, on the 
long or transverse axis of the rink, but always in such a manner that the spectator gets a 
clear understanding of the design. Long strokes, alternating with quick turns and clean 
foot-work, should be combined with beautiful positions often changed, without too much 
posing, in order to produce a great and pleasing variety. At first select easy figures that 
can be readily mastered and then by degrees let more difficult ones be added. 

Figure i. Right forward inside counter, shortly after the turn, large left back out- 
side circle; unemployed foot then crossed behind and a quick rotation on both feet 
(turning to the left) followed by an outside back edge on the right foot, then a change 
of edge on the left foot commencing on the inside edge. A figure of this character is 
excellent for the opening of a programme as it covers the entire skating surface and so 
brings the skater in close contact with the audience. 



74 






,. ~,'5-rt^Xl ^4^d^<^r^ -J^^^Umj^^ i 



i-ff 



FREE SKATING 



75 





FIGURE I 



76 



SKATING WITH BROR MEYER 




FIGURE 2 



Figure 2. Jump to right back outside, spiral, left back outside crossed behind, 
three, shortly after the turn, right back inside crossed in front, followed by left forward 
outside. 



FREE SKATING 



77 





FIGURE 3 



Figure 3. Left forward outside three with the back inside edge flattened, right baclv 
outside crossed behind, left foot then crossed behind, rotate to the right on both feet, 
left back outside, followed by right forward inside. 



78 



SKATING WITH BROR MEYER 









2.9 30 



FIGURE 4 

Figure 4. Right forward inside rocker with short change of edge soon after the 
turn, left back outside crossed behind, then from the toe of the right foot (also crossed 
behind) jump to right forward inside. 



FREE SKATING 



79 




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SKATING WITH BROR MEYER 




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FREE SKATING 



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FIGURE lO 



Figure io. Left outside forward three, the back inside edge being flattened after 
the turn, right back outside crossed behind, Brillen, left crossed behind, right back in- 
side crossed in front, left forward outside taken up very smoothly. 



82 



SKATING WITH BROR MEYER 








FIGURE II 



Figure ii. Outside spread-eagle figure, the curve gradually leading into a straight 
line, followed by a three turn on the right foot skated very strongly: almost with the turn 
the left foot commences on the outside back edge, the right foot is again put down, and 
the straight line is once more commenced. 



FREE SKATING 



83 




^f, .^-5 i'i ^~' 3i ~~*;M>i 



% 




FIGURE 12 



Figure 12. Inside spread-eagle figure: Commence the inside spread-eagle with 
the right foot leading, one and a half revolutions (on both feet) brings the skater at the 
end on the right outside back edge. The figure repeats with the left foot leading. 



84 



SKATING WITH BROR MEYER 




FIGURE 13 



Figure 13. Right inside forward rocker, the left foot commences alongside on the 
back inside edge and makes a three turn; immediately after the turn, the right foot 
crosses over the left and commences a forward outside edge. 



FREE SKATING 



85 




FIGURE 14 



Figure 14. Right inside forward rocker; the resulting back inside ^dge gradually 
changes to back outside. 



86 



SKATING WITH BROR MEYER 



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FIGURE 15 

Figure 15. Right forward inside, left forward inside (commenced by the side of the 
other foot), the unemployed foot is then brought forward and put down on the outside 
back edge, the left foot crosses behind and makes an outside back three. Immediately 
after the turn the unemployed foot describes a loop in the air and takes up an inside back 
edge (crossed in front). 



FREE SKATING 




FIGURE l6 



Figure i6. Left forward outside jump to right back outside (| revolution). The 
curve gradually becomes a straight line and develops into a spiral with stop. See 
Illustration. A figure of this nature makes an excellent finish to a programme. 



88 SKATING WITH BROR MEYER 

DANCE STEPS 

I have used the words "Dance steps" to indicate that each step in this type of skat- 
ing should be done in time to the music selected. To accomplish this every step of the 
dance must be fully mastered. 

The following illustrations and descriptions are selected from a few of the numberless 
steps that can be invented by an advanced skater. The skater should choose dances 
adopted to his temperament, style, power, etc. 




FIGURE 17A AND B 

Figure 17A and b. The bracket step, so-called "Mohawk." (a) crossed behind. 
(b) crossed in front. 

The point to emphasize is that the skater should assume, in advance of the step, the 
outer back edge so that he may take it easily on a well-bent knee. The step to the outer 
back edge should be taken close. 



FREE SKATING 



89 




FIGURES iS AND I9 



Figures i8 and 19. Right forward inside, left forward outside (crossed beliind), 
front crossed Mohawk to right back outside (19 left back inside crossed behind, right 
back outside commenced by the side of the left foot), left back inside crossed in front, 
right forward inside. Repeat. 




Figure 20. Commence by making a straight line forward on the right foot, left 
forward outside crossed behind, front crossed Mohawk to right back outside, left back 
inside, right back outisde, left back inside crossed in front. 



9° 



SKATING WITH BROR MEYER 




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91 




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92 



SKATING WITH BROR MEYER 




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FREE SKATING 



93 





FIGURE 24A AND B. THE TEN-STEP . MAN S PART ABOVE. LADY S PART BELOW 

Figure 24. The "ten-step" (a) Gentleman's steps: left forward outside, right 
forward inside, left forward outside, right forward inside, left back inside (spread-eagle 
position), right back outside, left back inside (crossed behind), right back outside, left 
back inside (crossed in front), right forward inside commenced in spread-eagle position. 

(b) Lady's steps. Right back outside, left back in side, right back outside, left forward 
outside, right forward inside, left forward outside, right forward inside, left forward 
outside, Mohawk right back outside (crossed behind), left back inside (crossed in front). 



94 



SKATING WITH BROR MEYER 





ao 41 a i5 



FIGURE 25 



Figure 25. Left forward outside, right forward inside, left crossed in front to back 
inside, this tracing is flattened toward the end, right back outside (crossed behind). 
Brillen left back and inside (crossed behind), right back outside, left back inside (crossed 
in front), right forward inside (spread-eagle position). 



FREE SKATING 



95 




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96 



SKATING WITH BROR MEYER 





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FREE SKATING 




FIGURE 28 



Figure 28. Left forward outside, right forward inside (crossed behind), left back 
inside (spread-eagle position), right back outside, left back inside (crossed behind), right 
back inside (crossed in front), and again the left forward outside. 

Figure 29. Left forward outside edge change to inside and then change again to 
outside. During this movement the unemployed foot is first moved forward and then 
carried backward to take up the inside edge crossed behind the left foot, and making an 



98 



SKATING WITH BROR MEYER 



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FREE SKATING 



99 





FIGURE 30 

Figure 3c. The Swedish Mazurka. (Preliminary steps.) 

Right forward outside, left forward inside (crossed behind), right back inside (crossed 
in front), left forward outside, right forward inside (crossed behind), left back inside 
(crossed in front), right forward outside, left forward inside (crossed behind), right back 
inside (crossed in front). 



lOO 



SKATING WITH BROR MEYER 

The Main Steps. Starting at figure of skater No. 14. Left forward outside, right 
forward inside (crossed behind), left back inside commencing at about spread-eagle 
position, right back outside, jump from the left toe (crossed behind) and describe a half 
revolution to the left, alighting on the right toe, and repeat the main steps. 




SPIRALS 

The following four illustrations show a variety of positions selected from the innum- 
erable spirals. Figures of this kind should be practised equally on either foot. 

For Free-Skating programmes spirals make a beautiful interlude, but the skater in 
selecting these should be careful to adopt positions suitable to his style and build. 
These^figures are particularly useful for the beginner to strengthen the ankles and give 
poise. 



FREE SKATING 



lOI 




FIGURE 31 



Figure 31. Outside forward spiral. The body should be strongly inclined for- 
ward with the back well hollowed, the unemployed arm making a continuous line with 
the unemployed leg. The spiral is completed by raising the body and spinning on the 
toe of the skate. 



102 



SKATING WITH BROR MEYER 




FIGURE 32 



Figure 32. Inside Forward Spiral. In this spiral the body is more erect with 
the unemployed arm in advance. Complete by a'one-foot pirouette. 



FREE :SKATING 



103 




FIGURE 33 



Figure 33. Inside forward spiral with the arms crossed in front. This spiral com- 
mences on the outside forward edge. 



I04 



SKATING WITH BROR MEYER 












FIGURE 34 



Figure 34. Outside back spiral with hands resting on back commenced from an in- 
side forward three jump. For finish see Illustration. 



FREE SKATING 



105 






FIGURE 35 

VARIOUS JUMPS 

It is an unvarying rule, applicable to jumps, that they should be first made high; 
let the length come as the resultant of speed and height. The employed knee should be 
well bent before the jump and straightened just as the skater leaves the ice. Aim to land 
lightly upon the front part of the blade and again sink on the skating knee in order to 
emphasize the smoothness, height, and grace of the jump. 

Figure 35. A jump from the outside forward edge on one foot to the outside back 
on the other foot, with half revolution. 



io6 



SKATING WITH BROR MEYER 




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FREE SKATING 



107 




FIGURE 38 

Figure 38. Rocker Jump. Outside forward to outside baclc. 



io8 



SKATING WITH BROR MEYER 





FIGURE 39 

Figure 39. Rocker Jump. Outside back to outside forward. 



FREE SKATING 



109 





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FIGURE 40 



Figure 40. Counter Jump. Inside back to inside forward. The position for the 
inside back is obtained from an outside three on the other foot. 



no 



SKATING WITH BROR MEYER 





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FREE SKATING 



III 




FIGURE 42 



Figure 42. Double Jumps. Outside forward three with jump from the inside back 
edge, alighting on the toe of other foot and jumping from the toe to the outside back edge 
of the same foot. This necessitates a further rotation. 



112 



SKATING WITH BROR MEYER 




FIGURE 43 

Figure 43. Loop Jump. Outside forward three with short change of edge on one 
foot, followed by an outside back edge on the other foot (crossed behind), from this edge a 
jump with a complete revolution alighting again on the same edge. 

In order to facilitate the learning of this jump the shoulders must be well rotated 
with the curve and the free foot kept in front until just at the moment of leaving the ice. 



FREE SKATING 



113 




FIGURE 44 



Figure 44. Salchow Jump. Outside forward three with jump from the back in- 
side edge to the outside back edge of the other foot, necessitating a complete revolution. 

In order to insure this jump being made high, the skater must be careful to hold the 
two edges of the preparatory three and the free leg under control. 



114 



SKATING WITH BROR MEYER 




FIGURE 45 



Figure 45. Axel Paulsen Jump. From the outside forward edge to the outside 
back of the other foot, requiring one and a half revolutions. 




FIGURE 46 



Figure 46. Spread-Eagle Jump. From the outside spread-eagle, jump into the 
same position, after a complete revolution in the air. The skater is then travelling in 
the same direction. 



FREE SKATING , 115 

The Spread Eagle. The position is to be seen on Figure 11, the first position illus- 
trating the spread eagle on the outer edge and the other position the spread eagle on the 
flat of the blade. In the same manner, the spread eagle can be accomplished on the 
inside edge. The spread may be skated in the form of a spiral or interposed with dance 
steps, jumps, etc., according to the taste of the individual. 

Some skaters experience great difficulty in acquiring the spread eagle, but it is advis- 
able to persevere as it affords excellent practise for the muscles, and is of immense bene- 
fit in acquiring "Form" in skating. As a rule, children experience no difficulty in its 
accomplishment, but adults should practise the same off the ice, and I consider the fol- 
lowing to be the best method: Stand in the corner of any room, face toward the corner 
with one foot touching each wall, about one and a half feet apart, knees straightened and 
body upright. Some support is necessary to enable the skater to lean backward and the 
most useful is an ordinary chair. Retaining the position described, the endeavour must 
be to: 

(i) Turn the feet outward as far as possible. 

(2) Bend the body to the right and left alternately without bending the knees. This 
gives flexibility. 

(3) To bend and straighten each knee alternately without changing the position of 
the feet. 

When practising this spread on the ice the skater should endeavour to develop his 
"swing" as this enables the body and leg positions to be obtained more readily. It is also 
advisable to practise this with either foot leading, otherwise it may happen that the 
skater habitually holds himself in an unsymmetrical position. The carriage of the head 
and arms depends entirely upon the taste of the individual. 



ii6 



SKATING WITH BROR MEYER 



TOE-SPINS AND PIROUETTES 




FIGURE 47 



Figures 47 and 48. Outside forward and inside toe-spins. 




FIGURE 48 



FREE SKATING 



117 




FIGURE 49 



Figure 49. Outside Back Toe-spin. The employed knee must be strongly bent 
before the spin and the free foot held in front to enable the skater to have a good balance 
whilst rotating. The difficulty is to retain a good position during the spin and to hold 
out'the edge after the spin, without putting down the other foot. 

This is true of all toe-spins. All the toe-spins are beautiful if well executed. They 
furnish a splendid variation in a Free-Skating programme. The main points to re- 
member are — prepare as for a loop and make the spin at the point where the top of the 
loop would be placed. 

During the spin the body must be held rigid with both arms evenly outstretched 
from the body. It will help the skater to make more than one revolution if the arms 
are gradually lowered and brought nearer the body. To finish properly, the edge after 
the spin must be held out under control. 



ii8 



SKATING WITH BROR MEYER 







O 



O 




FREE SKATING ^ 119 

Figure 50. The common two-foot spin and the cross-foot spin. (Both feet on 
the ice.) 

The two-foot spin on the flat of the skate must first be learnt, in order that the 
skater may accustom himself to the rotation of the spins. In this as in all other spins, 
the employed knee must first be well bent in order to assist the balance before attaining 
an erect position. The arms should be outstretched, and then during the spin gradually 
brought to the sides to increase the speed of the rotation. 1-7. Show the positions of 
the ordinary two-foot spin. 8-15. The positions of the cross-foot spin. 

Figure 51. One-foot spin. For positions see Illustration. 

Figure 52. The Jackson-Haines spin. This is perhaps the most difficult of all 
spins, but at the same time is probably the most effective and necessitates the greatest 
practise. The Illustration shows the method of accomplishment. 

Special attention must be given to the commencement, which must come from a 
strong edge with a good body inclination. 

Whilst sitting down, the arms and legs must be outstretched to enable the skater to 
increase the speed of the rotation by drawing them close to the body. The skater should 
sit down as soon as possible, with the weight of the body on the ball of the foot. 

Care must be taken that the spin is not overdone, otherwise the skater will be unable 
to raise the body on the skating leg, which is of course necessary in the true Haines 
pirouette. 

An almost universal fault is to make the spin too fast at first, thus losing balance and 
curtailing the spin. The skater thus loses the very fast and brilliant finish which makes 
this figure so effective. 

Figure 53. How to obtain pace. In order to obtain the requisite speed for making 
large figures the skater must learn to run on his skates. Though apparently easy, the 
run is difficult to do well, and requires considerable practise. The body and head should 
be quite erect, and the arms evenly held from the sides. In order to prevent the skates 
slipping the steps must be taken from the inside edge of the blade on the front part 
and at right angles to each other. Running on the toes should not be allowed. 



REMARKS ON THE COMPOSITION AND SKATING OF 
A FREE-SKATING PROGRAMME 

When the skater can successfully accomplish a yariety of movements based on the 
foregoing examples he should endeavour to construct a Free-Skating programme, 
which will open up for him a most interesting field. The chief aim should be originality, 
and the performance should also show the intellectual development of the individual. 
In living up to these ideals, however, the skater is in a somewhat unhappy position, as 
in competitions (particularly in the World's Championship) the majority of skaters 
execute programmes which show great similarity, even though the individual style of 
skating is widely different. Should the skater produce an entirely original programme 
he might suffer by comparison with the others. To go a step further, even the judges 
are often looking for certain figures (Haines spin, one-foot spin, Axel Paulsen jump, 
spread-eagle, etc.) although the skaters are not directly asked for the same. In my 
opinion, a programme showing originality and individuality should command a far greater 
value than at present exists. 

I do not mean to imply, however, that a skater should not n^aster thesejvarious 
jumps, spins, and figures, for use in competition work. 

No fixed rules can be given as to the composition of a programme, otherwise its in- 
dividuality would be lost. Some general hints, technical and otherwise, may, however, 
prove useful. 

At the outset do not fall into the common mistake of being a mere plagiarist, but pro- 
duce a programme which will be characteristic, and shall furthermore show an under- 
standing of technique. First make up your mind as to the movements which you desire 
to incorporate, choosing only such figures as have been completely mastered. Let these 
as far as possible have contrasting effects, and be such as are suited to your style of 
skating. The whole programme should be continuous with each figure smoothly molded 
into the next. But still try to emphasize the completion of each figure. With regard 
to the order of their performance, the natural commencement is with a large, flowing 
figure skated with plenty of "swing." This, from a technical point of view, takes one 
quickly away from the boundaries and into the centre of the rink, and from the artistic 
point of view should immediately bring the skater into sympathetic contact with the 
spectators, as well as giving him pace and freedom for the figures which follow. Arrange 



FREE SKATING ^ 121 

the programme with'_harmonious effects, so that it is attractive for the spectators, but 
take care that the figures which call for great exertion are interposed with quieter move- 
ments tojecover thestrength, otherwise when nearing the end'signs of fatigue will make 
themselves evident, and the performance will lack swing and power.T^This is particu- 
larly noticeable in high altitudes if the programme be lengthy and difficult. /The artistic 
temperament of the skater is also here called into play, large combinations can be varied 
with dance steps, forming contrasting effects but still being rendered in harmonious se- 
quence. " At the close of the performance an effective figure is essential in order to give 
a lasting impression. ■ To make the most of this "effect" the skater must slightly under- 
time his programme as the concluding item is always in the nature of a slight "pose." 

Always preserve the grace by keeping the head erect, looking in the direction of 
motion, let arms, hips, and free leg all contribute to the figures. 

Whilst practising his programme the skater must pay careful attention to the size 
of the rink and should keep some power in reserve, since he may often be obliged to skate 
on a rink of different dimensions. As far as possible the whole ice surface should be 
utilized. If skating in an outdoor rink, the pressure of the wind has to be taken into 
account and the skater must be more economical of his strength. The large, flowing 
figures should be commenced against the wind, so that the second half of the figure ob- 
tains the advantage of the wind, and thus becomes equal to the first half which has the 
initial power. : Long combinations of figures should be placed, if possible, at right angles 
to the direction^of the wind. 

Do not hurry under the impression that you are getting "swing." Do not scramble 
from one figure to another, but skate each figure to the end and in a precise manner. 

Special movements such as jumps, toe-spins, etc., may be duplicated. This empha- 
sizes the figure, and lends the impression that the skater is very "safe." 

The music chosen must be suitable for the programme, and the skater must en- 
deavour to keep perfect time without losing the characteristic style of his skating. 

Most march and other dance steps can, when perfected, be skated in time with any 
music. 




BROR MEYER AND MISS EMMY BERGFELDT, AT ST. MORITZ 



PAIR SKATING 



In my opinion, Pair Skating to a certain extent is merely a Free Skating perform- 
ance executed by two persons, and for the reasons which I have already expressed 
in the chapter on Free Skating, it would be equally wrong to give here more than merely 
general rules as to the composition of a Pair Skating programme. 

The same characteristics apply in each case, but in Pair Skating absolute unity of 
movement Is the prime essential. A good pair can only consist of two skaters who have a 
similar style of skating, i.e., carriage of body, and similar arm and foot movements. Pos- 
sibly the best practise for the attainment of this is the skating together of the School 
Figures. This unity of movement creates the " impression." 

Beginners are often at a loss when forming a programme, through a lack of knowledge 
of the essentials of Free Skating and paucity of movements, therefore to form a basis for 
the development of their own ideas I append several suitable and different combina- 
tions. 

In the various illustrations I. have left only the tracing made by the man. 



PAIR SKATING 



123 




FIGURE 54 

Figure 54. Inside Forward Spiral. For position of hands and arms, see 
Illustration. 



12 + 



SKATING WITH BROR MEYER 




FIGURE 55 

Figure 55. Inside Forward Spiral. For position of hands and arms see 
Illustration. 



PAIR SKATING 



125 








J^ ^ 



FIGURE 56 

Figure 56. Suitable figure for the commencement of a programme. The hands 
as in positions i to 1 1 ; after parting, the gentleman is on the back outside edge; the lady, 
forward inside until^2i — rejoin until — 30. See Illustration for positions. 



[26 



SKATING WITH BROR MEYER 








FIGURE 57 

Figure 57. Right outside forward rocker, right back outside; from 18 — left for- 
ward outside. At 21 and 22 the man makes a left outside forward rocker while the lady 
merely steps from left to right outside. The gentleman makes the rockers slightly 
in advance of the lady: because his edges before the turns have the larger radius. 



PAIR SKATING 



127 




f-tt#tt^ifV4IMttt 



FIGURE 58 

Figure 58. Numbers i to 3 is a straight line on the outer feet and the unemployed 
foot is brought forward (4), both execute a Mohawk (crossed behind) (6), the pair sepa- 
rates; gentleman, outside back three; the lady a double-three, (12) rejoin and complete 
with spiral, as in Illustration. The line below shows the finishing circle made by the lady. 



128 



SKATING WITH BROR MEYER 




FIGURE 59 

Figure 59. Symmetrical figure, the pair commencing facing one another some 
distance apart and on opposite feet. For example, the gentleman left forward inside, 
change to outside, toe-spin at (11), at (12) a short right outside back edge, (13) left crossed 
behind, (14) right forward outside, (16) parallel with lady, (17) left crossed behind, (18) 
right forward outside three, (19) left back outside, right crossed behind and rotate on 



PAIR SKATING 



129 




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FIGURE 6l 



Figure 6i. (1-3) a straight line on the outer feet, while the unemployed feet are 
brought forward. Now both execute a Mohawk (crossed behind). At 6 separate and 
both skaters make corresponding figures on the opposite feet as follows — man left 
forward outside three — right outside back, left inside, slight change of edge to right 
inside crossed in front. At 16 left forward outside. At 20 join in starting position. 



PAIR SKATING 



iji 





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25^ ^ 




FIGURE 62 

Figure 62. Commencing together on the left foot with a straight hne, the unem- 
ployed foot is carried forward at (6) right back outside crossed in front and fairly flat. 
(8) Gentleman — left back inside; lady — two short steps, (9) gentleman — right for- 
ward^ inside; lady — left back inside, (12) both change edge, (19-21) gentleman — short 
step. on left foot crossed behind, right forward outside, and left forward outside. Lady: 
short right hack followed by left forward outside, completed by both as spirals. 



132 



SKATING WITH BROR MEYER 







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Figure 63. The pair executes a left inside forward rocker, (10) left back inside 
change smoothly to outside edge until (27) where (by means of the unemployed toe) 
the skaters jump forward facing each other, and finish by a straight line on the inner 
foot. 



PAIR SKATING 



^33 




FIGURE 64 



Figure 64. (i-io) Waltz. Gentleman jumps from right back outside to right 
forward outside (almost on the flat of the blade) and the lady from left forward outside 
to left back outside (i.e., one half revolution each). (14) Left forward inside (crossed be- 
hind) lady half turning to right forward outside, (15) gentleman executes front crossed 
Mohawk to right back outside, (16) the lady glides ahead on the left forward outside, (17) 
gentleman — left back inside; lady — left forward outside; (20) gentleman — three short 
steps; lady — half turn to the right and right back outside, finish in a straight line. See 
Illustration for method of joining. 



134 



SKATING WITH BROR MEYER 




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136 



SKATING WITH BROR MEYER 



back inside (13). From the unemployed toe jump to right forward inside, face to face. 
For position of the arms see Illustration. Gentleman's unemployed foot is carried for- 
ward and at (18) a bracket turn is made. During this movement of the unemployed 
foot, the lady passes to the left outside forward edge and at (18) with the gentlernan's 
turn, she executes a Mohawk (crossed behind) to right back outside (20), left back 
inside crossed in front. (22) Both right forward inside. Repeat. 





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i 8 




FIGURE 67 

Figure 67. Mohawk Dance in waltz position. Gentleman's steps: (1-5) right 
forward inside, (5-8) left forward outside with short forced change at the end, (8-9) 
Mohawk to right back outside, (11-12), left back inside crossed in front, repeating at 
(15). All the edges are rather flat. The lady's steps are identical, but when done to- 
gether the man is always one edge in advance. (The step is really commenced on the 
left forward outside not as in the Illustration — right forward inside.) 



PAIR SKATING 



137 








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FIGURE 68 

Figure 68. The pair commences side by side holding the inner hands: (i) Straight 
line on the inner foot, the clasped hands stretched out in advance, at (4) skating on the 
outer feet, face to face, with both hands joined. The unemployed foot is now swung 
forward to the music and again backward, and at (9) executes the Mohawk step (crossed 
behind). To position 13 the gentleman is skating right outside back (almost the flat 
of the blade) whilst the lady rotates once to the left under the gentleman's right hand; 
at (13) both are on the outside feet, face to face, with the gentleman's right arm round 



SKATING WI 




TH BROR MEYER 

the lady's waist, the other hands being 
outstretched. Still in this position, there 
is a short step at (15) on the inner feet, 
at (17) again on the outer feet, the un- 
employed leg swings forward and both 
skaters execute a front crossed Mohawk 
to outside back edge (straight line) (21). 
At (23) they are jumping from the un- 
employed toes, turning away from each 
other and alighting on the inner feet after 
one half revolution. (28) Forward outside 
three crossed over, (29) outside back edge 
crossed over the preceding inside edge, 
(32) take hold of the inner hands and 
repeat. 



Figure 69. The partners are almost 
in waltz position (see Illustration for exact 
position). 

The gentleman skates three short steps 
forward, commencing on the left foot; 
the lady three backward commencing on 
the left foot. At (5) the gentleman com- 
mences an inside forward on his right foot, 
and makes a three turn. During this for- 
ward inside edge the lady carries her left 
foot backward^ and after the gentleman's 
three (7) both skate the "Brillen" com- 
mencing left outside back. The tracings 
of the " Brillen" should be parallel. After 
the "Brillen" the lady skates four short steps backward, the gentleman skates three 
short backward steps, and during the fourth step of the lady passes to a left outside 
forward edge. At (17) the skaters rejoin hands and with three short steps fall into 
position for the Mohawk dance (vide Illustration 6j), which they execute once, the only 
difference being that the lady jumps the Mohawk. Repeat. 



FIGURE 69 



PAIR SKATING 



139 











o 






I40 SKATING WITH BROR- MEYER 

Figure 70.' Ten-Step or Fourteen-Step. Both the lady's and gentleman's steps 
of the ten-step have been previously given under the Free-Skating portion (Figures 24a 
and b), so I have only to say that on a large-sized rink, after the first three steps, a long 
outside edge may be skated, viz.: Gentleman, right outside forward; lady, left outside 
backward, afterward the usual ten-step follows. This comprises the fourteen-step 
variation. 

The long edge is shown on Illustration 69 between position 6-10. 

This dance is often skated too quickly and too roughly, with jerky arm movements, 
and not in time with the music. 

From the artistic point of view, the aim must be to produce a harmonious move- 
ment in perfect unity whilst keeping time with the music. 

Skaters who intend to enter for competitions and wish to include difficult movements 
in their programme must not lose sight of the fact that as regards "execution" particu- 
lar attention is paid by the judges to unity of movement. 



PAIR SKATING 



141 




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WALTZING ON THE ICE 

Figure 71. Of all dances arranged for the ice, undoubtedly the most popular is the 
"Waltz," for this dance is known on every ice rink throughout the world. Doubtless 
this popularity is due to its apparent simplicity and to the erroneous impression that it 
is easily acquired. Although the dance is composed of the most elementary steps, viz.: 
an outside forward three followed by a plain outside back edge; yet, when well executed 
the dance is not only exhilarating to the skater, but is also a source of wonder and de- 
light to the spectators, coupling, as it does, the graceful effect of dancing with the undu- 
lation and rhythmic sway of skating. 

Before endeavouring to combine their steps it is essential that the partners should be 
able to skate their separate steps correctly and smoothly. Though the steps are simple, 
many points have to be grappled with, as these steps are executed in an entirely different 
manner from the School Figures, e.g.. In the School Figures the "three" is done by the 
rotation of the shoulders, but in the waltz the turn is swung, and is accomplished by the 
inclination of the body and the straightening of the tracing knee assisted by a good ankle 
control. 

The skater commences the outside forward edge on a bent knee, with the body well 
inclined but not leaning forward, shoulders square with the tracing, and the unemployed 
leg in the rear and held rather straight and close to the ice, the toe being well pointed. 
When approaching the turn the skater straightens the tracing knee and brings the un- 
employed foot gradually nearer to the tracing foot, and throws the weight of the body 
on the front part of the skate. At the turn the unemployed foot swings round naturally, 
and is then held behind the tracing foot, the tracing knee again being bent. This action 
to a certain extent causes the inside back edge to come of its own accord, and in the 
right direction, i.e., a continuation of the curve before the turn. The unemployed foot, 
which has retained its position (i.e., behind the tracing foot), now takes up the outside 
back edge on a well-bent knee, with the toe placed to the instep of the tracing foot, the 

143 



PAIR SKATING 



143 




144 SKATING WITH BROR MEYER 

feet being kept as near to each other as possible. At the commencement of this back 
outside edge the skater should for a moment still retain the previous inside back edge. 
This not only gives him stability, but also ensures the outside back edge being a perfect 
continuation of the inside back edge. 

When this foot is raised it must be held fairly straight and during the progress of 
the outside back edge should be carried gradually backward, then toward the end of the 
curve it is brought nearer to the employed foot, so as to be in position for the next 
stroke. 

When approaching the completion of the outside back edge the tracing knee should 
be slowly straightened. 

The length of the first edge (i.e., to the turn) will vary according to the swing, time of 
the music, speed of the ice, etc., but in any case, the edge must be well held out and not 
made too curly, or otherwise the rotation will be too strong. After the turn the skater 
should endeavour to hold the inside back edge for about one third the length of the for- 
ward edge. Theoretically, the outside back edge should be equal in length to the out- 
side forward, but in practice it will be found to be rather longer. Care must again be 
exercised on this edge that the rotation does not become too strong. 

Whilst practising alone the arms must remain flexible, and care taken that they do 
not swing the skater. Whenever possible the shoulders must be at right angles to the 
tracing and the head carried in a natural position. 

The foregoing steps must be practised on both feet. 

To complete the gentleman's part the skater has now to learn the manner in which 
the direction is changed. This is not accomplished in the usual manner of changing 
from one forward edge to another, but by the skater crossing his feet when taking up the 
new curve. 

The easiest method of acquiring this step is for the skater to fix his eyes upon some 
distant object and skate in that direction. With the commencement of each new curve 
the tracing knee must be well bent; halfway through the curve, the skater gradually 
straightens the tracing knee and slowly carries the unemployed foot forward and across 
the tracing line, in order to be in position for taking up the new edge. The inclination of 
the body must now be lessened, causing the curve to be somewhat flattened and en- 
abling the skater to take up the new edge more easily. Should this latter movement not 
be carried out at the right moment, the tracing becomes too curly and the skater swings, 
and cannot take up the new edge correctly. 

The unemployed leg should always be moved smoothly and from the hip; never vio- 
lently swung. The knee must be only slightly bent, and the foot carried at an even dis- 
tance from the ice. 



PAIR SKATING , 145 

The change of direction is made by the lady in the following manner: Toward the 
end of the outside back edge the tracing knee is straightened and the body rocks gently 
toward the coming edge. This causes the skate to glide over to its inner edge, and the 
new back outside edge is now taken up in the same manner as the edge after the "Three" 
turn. 

The lady does not cross her steps when changing the direction. 

After reasonable progress has been made in the skating of their respective steps the 
partners should attempt to combine them, attention first being paid to the position they 
must occupy, viz. : 

The pair must be facing and fairly close to each other with shoulders parallel and 
held at right angles to the tracing line; the gentleman's right hand holding the lady 
between the shoulder blades; his left hand taking the lady's right hand, their arms being 
outstretched and retained about shoulder height. The lady's left hand is laid on the 
upper part of the gentleman's right arm. 

These positions should be retained during the entire dance, and great care is necessary 
to prevent the shoulders breaking away from their parallel position. 

The steps are combined in the following manner: Whilst the lady is on the outside 
back edge the man is skating the first curve of the Three, and these tracings should be 
as nearly parallel as possible, with the gentleman's tracing slightly on the outside of the 
lady's. The gentleman turns almost between the feet of the lady, and during his back 
inside edge the lady commences her forward edge, which must run parallel with the 
gentleman's outside back edge. The lady's turn is made in the same way, i.e., between 
the gentleman's feet. 

Two or three turns are usually made in the positive direction, and a corresponding 
number in the reverse direction; the number, of course, varying with the skating area, 
the number of persons waltzing, etc. 

After the couple is fairly proficient (but not sooner) they should endeavour to keep 
time to the music, allowing two bars for each stroke. To produce a harmonious per- 
formance care must be taken that the unemployed is correctly and quietly moved — 
not swung — and furthermore it is essential that the rhythmic rise and fall be absolutely 
simultaneous. 

Each movement of the partners must be as supple as possible and perfectly uniform; 
failing this, the whole charm of the "Waltz" will be lost! 

THE MOST COMMON FAULTS 

Incorrect movements of the unemployed leg, e.g. : Carried too far outside the print 
before the turn, and often swung forward instead of being under perfect control. This 



146 SKATING WITH BROR MEYER 

prohibits the taking up of the outside back edge near to the tracing foot, and often causes 

this edge to be too short and curly. 

Unemployed toe pointing upward. 

At the cross-roll step the edge is made too curly, making it an impossibility to take 
up the new stroke correctly. 

The arms, instead of being outstretched, are often bent at the elbows, and do not move 
in unison with the body. 

The shoulders do not keep their correct positions: i.e., parallel with each other and at 
right angles to the tracing. 

Wrong position of the head: i.e., instead of remaining perfectly still after the turn, 
frequently when on the inside back and outside back edges the skater looks in the direc- 
tion of progression, which gives a strained body position. 

Not in time to the music. 

By reason of the faults above enumerated, the couple loses the whole rhythm of the 
dance. 




COMMENCEMENT OF THE WALTZ 



THE CORRECT COMMENCEMENT OF THE WALTZ 

The waltz should be commenced with the lady on the right hand of the gentleman. 
Taking hold of the gentleman's right hand with her left, the lady then makes 
the three turn on her left foot while the man is taking three short steps. As soon 
as the lady is on her outside back edge on her right foot the man begins on a left 
outside forward. He then crosses his free leg, taking a right outer forward as the woman 
takes a left outside back into the waltz. The couple then proceed as before described. 



PAIR SKATING 



147 



WALTZ VARIATIONS 

A change of direction can be made if the gentleman skates an outside forward rocker 
instead of the three turn. The lady corresponds by passing on to a half stroke of 
inside forward, following this with an outside forward stroke on the other foot. 

Another variation is for the lady to skate an inside forward three, commencing with 
the gentleman's outside back edge after the rocker. 

A favourite variation is the introduction of a "jump." This is done by the lady 
jumping from the outside forward to the outside back edge (in the same direction as 
the three turn). When the jump is to be made, the gentleman is on the outside back 
edge, and to prepare for the jump, he sinks well on the tracing knee, then lowers his 
left arm to assist the lady to obtain a good spring as well as to support her. 

The lady must not endeavour to cover much space, but instead, should aim for a high 
jump, and to render this simpler, when leaving the ice, she must be near to her partner. 
This assists her to maintain a good appearance whilst in the air, i.e., head and body up- 
right, toes pointing down, and feet close to each other. The lady should alight as gently 
as possible, and at once sink well on the tracing knee, the unemployed foot being then 
carried backward. 

Another variation is the "change-of-edge," which is usually done by the gentleman 
when on his outside forward edge after the cross-roll step. This step is made in the 
usual manner; the partners then make a double change of edge, taking care to be in 
time to the music, afterward dropping back into the ordinary waltz step. 

During the changes-of-edge the gentleman must keep his unemployed leg in the rear, 
whilst the lady brings her unemployed foot backward, retaining it rather close to the 
tracing foot during the next two edges. 

The changes are made by the rock of the body together with the raising and lowering 
of the tracing knee. 

Another variation is for the lady to make a quick double-three step instead of an out- 
side back edge. The turns are made under the gentleman's uplifted left arm, he during 
this movement taking three short steps forward. 



148 



SKATINGWITH BROR MEYER 

B.— MARKING-CARD 
JUDGE 



I. Compulsory Figures 


Starting Numbers and Names 




3 


i-4 

s 

3 


1 

a. 

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u 


I 


2 


3 


4 


5 




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1 


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■ 






Total Points for Compulsory ( 
Figs. (Highest possible points) \ 


X 




X 




X 




X 




X 






II. Free Skating 

(a) For the Contents of the \ 

Programme, . . \ 

(b) For the manner of its f 

performance . . \ 

Sum o{ a + b 

Multiplied by the factor. . . J 
Total Points for Free Skating ■ 
(Highest possible points . .) ) 

Total Points for Compulsory | 
and Free Skating . . \ 




X 
X 




X 
X 




X' 
X 




X 
X 




X 
X 




>< 


X 


X 


X 


X 


X 


X 


X 


X 


X 










Serial Number of each Skater 















Marking by the figures o to 6; of which 0= failed, 2 = passed, 4= good, 
6= faultless; ^, I, i|, 25, 3, 3I, 4I, 5, 5^ represent intermediate grades. 
Quarter points may also be used. 



BOOTS, SKATES, AND COSTUME 

Only by using the best materials can a persevering skater obtain good results, and 
it would be foolish in the extreme to employ inferior articles. Not only is a great amount 
of time saved in the practise of the various figures, etc., but that practise is rendered far 
more enjoyable. Furthermore, there is a saving of strength as considerably less energy 
is expended when using correct articles. 

Boots. Great care must be taken that the boots are built correctly and are of 
good quality leather of medium thickness, preferably calfskin or boxcalf, as these do not 
stretch in use like other varieties of leather. The boots must be specially made and 
should fit the foot closely, particularly round the heel and instep. The toes must not 
be in any way cramped, yet the boot must not be longer than necessary. In height 
they should reach nearly to the calf, for preference half an inch below, to give perfect 
freedom to the calf muscles. The boots must be laced and in conformity with the nat- 
ural position of the skater when standing upright; they must be built erect to enable 
the ankle to be evenly bent. The lacing should go lower down than on ordinary boots, 
to permit the fitting of the boot to be regulated according to circumstances, and since 
a boot always stretches in use, when new there should be at least three quarters of an 
inch space from the instep to the top of the boot, otherwise in a short time they will be 
too slack. 

The soles should not be thicker than three eighths of an inch, and the heel should 
be approximately one inch in height, varying according to the foot and the construc- 
tion of the skate. 

It is preferable to have the boot made from two pieces of leather, with the seam in the 
centre, both in front and behind. 

Skates. Of all varieties, I consider the best to be the "round toe" pattern. These 
skates should be made of the highest quality steel and hammered by hand. The method 
of sharpening should be so perfect as to impart an excellent "glide" to the skate. 

Whatever class of skate be used it should be hollow ground, as this gives a better 

grip on hard ice; the edge also lasts longer without any necessity for re-sharpening. 

149 



150 SKATING WITH BROR MEYER 

Under the ball of the foot should be a flat portion about three quarters of an inch long as 
the weight of the skater is principally here. This flat portion prevents the skate from 
cutting deeply into the ice, and enables the skater to get more "swing" and is also less 
tiring to him on account of the easier balance. 

The skate should be so fastened to the boot that the blade is under the centre of the 
foot, that is, between the first and second toes and under the centre of the heel. The 
front of the skate should just touch the upper leather and the heel of the skate should 
project about five eighths of an inch beyond the boot heel. 

Costume. It is not practicable to dwell at length on this matter for nowadays the 
art is pursued in so many different places, viz. : natural rinks and both indoor and out- 
door artificial ice rinks. Tastes also differ greatly, and apart from costumes used for 
competitions, much cannot be said. For gentlemen, a light lounge jacket with tight- 
fitting knickers is very suitable, but the coat should not be very long. In any event, 
the costume should not be heavy and it is advisable to avoid long trousers as the 
skates may easily catch therein. For competitions, a short, well-fitting coat (black) 
with black tights gives the best appearance. 

Ladies should under no circumstances wear a skirt which is either long or heavy, and 
very close-fitting articles of apparel should be avoided, as they necessarily curtail any 
free action. 



TRAINING 

Those persons who intend to take up skating as a serious pursuit must train syste- 
matically, as in the case of other sports. In the first place, the heart, lungs, and muscles 
must be trained, for it is essential they be in first-class condition to endure the strain 
caused by the skating of a five-minute programme, more especially does this apply when 
the performance takes place in high altitudes. Secondly, considerable practise is neces- 
sary, and the skater must work from the easier to the more difficult figures. This 
applies equally to the School Figures and to the Free Skating. 

Since the foundations of skating are the four edges, it is imperative they be prac- 
tised by the expert as well as by the novice, and too much care cannot be exercised in 
ensuring correct positions and movements. The "style" attained in practising these 
edges in eight form will follow the skater throughout the whole of the School Figures, and 
the lack of good style amongst the skaters of to-day is entirely due to the fact that 
the elementary figures have been passed over too quickly and also practised aimlessly. 
If only a moment's thought be given, it will be readily seen that no good can accrue by 
merely going over a figure without applying the intellect, no matter how many times it is 
skated; and in addition, without severe self-criticism. A skater should never be quite 
satisfied with his own performance, especially whilst practising, though self-confidence 
on the day of a competition is a wonderful asset. 

Two hours daily is the maximum period for practise for the skater who is honestly 
working, and of this period the major portion should be devoted to the School Figures. 
Furthermore, a skater who is able to practise daily should rest for one day in each week. 

Together with the four edges, the skater should chiefly practise those figures which 
present some difficulty to him, and more practise should be given to the weaker foot. 
If a skater is really ambitious, he must not be afraid of hard work and this applies equally 
to those who are making a study of Pair Skating. It is scarcely necessary to remind him 
that perseverance and energy in Figure Skating have often proved victorious over nat- 
ural born talent. 

Perhaps one of the greatest faults to guard against whilst practising, particularly in 



152 SKATING WITH BROR MEYER 

the School Figures, is the tendency to put down the unemployed foot to assist in some 
difficult movement or figure. If this be repeatedly done, it will develop into a habit 
which will be exceedingly difficult to eradicate. Too much stress cannot be laid upon 
this warning. 

By the International rules for competitions the following points are of descending 
importance in the order given : i Correct tracing on the ice. 

2 Carriage and movement. 

3 Size of figure. 

4 Approximate accurate covering of the previous traces. 
From the foregoing paragraph it will be seen that the first essential is the correct 

tracing, and that the triple repetition is the fourth. These two essentials are often 
confounded with one another; by the judges as well as by the skaters. I admit that it 
looks imposing if the three tracings are on top of each other, but I must again point out 
the descending importance of the four essentials, and when practising, do practise in the 
right manner. 

Incorrect and cramped positions are frequently the result of skaters endeavouring to 
cover the tracings of figures. of which they have not a perfect mastery. Difficulty is often 
experienced in skating the School Figures equally well on both feet and this may some- 
times be easily corrected if the skater will endeavour to analyze the actions of the 
"better" foot and attempt to transfer them to the "weaker" foot. 

Should it be optional for the skater as to whether he practises by day or by artificial 
light, he should certainly choose the former since his progress will be far more rapid. 

AS TO CHOICE OF FOOD AND MANNER OF LIVING 

To this section on training properly belongs the question of food and the manner 
of living. Care should be taken to avoid foods which are not easily digestible and which 
are apt to produce a heavy feeling. Meals should be regular and only nourishing food 
taken, and not more of this than is strictly necessary. All stimulants which aff^ect the 
heart such as alcohol, coffee, and tobacco, should be avoided. 

A hot bath after practising and a short rest before the next meal will prevent the 
muscles from becoming stiff. 



THE INTERNATIONAL SKATING UNION 
AND ITS REGULATIONS 

The International Skating Union came into existence in order to have an authoritative body to lay 
down fixed rules for International Competitions in Figure and Speed Skating. 

The constitution of the Union creates members consisting of National Associations and Clubs, repre- 
senting each a country; these send delegates to a biennial congress, where the general affairs of the Union 
are settled, and a Council is elected; this latter conducts the business of the Association for the two years 
following. The Members of the Union at present are; 

Austria. Oesterreichischer Eislauf-Verband. 

Belgium. Brussels Ice Hockey and Skating Club. 

Canada. Amateur Skating Association of Canada. 

Denmark. Kjobenhavns Skoitelober Forening. 

Finland. Finska Skridskoforbund. 

France. Union des Societes Fran^aises des Sports Athletiques. 

Germany. Deutscher Eislauf Verband. 

Great Britain. National Skating Association of Great Britain. 

Holland. Nederlandsche Schaatsenrijdersbond. 

Hungary. Hungarian Skating Association (Magyar Orszagos Korcsolyazo). Budapester Eislauf- 

Vereign (Budapesti Korcsolyazo Egylet). 
Norway. Norges Skoiteforbund. 
Russia. St. Petersburger Eislauf-Verein and Amateur Sport Vereign, Moscow River Yacht Club, War- 

schauer Eislauf- Vereign, and Russian Athletic Association. 
Sweden. Svenska Skridskoforbundet. Stockholms Allmanna Skridskoklubb. 
Switzerland. Schweizer Eislauf Verband. Internationaler Schhttschuh-Club, Davos. St. Moritz 

Skating Association. 

The Council at present consists of the following gentlemen: — 

Lieut.-Colonel V. G. Balck, Sweden {President). 

Dr. G. Herbert Fowler, Great Britain. 

Dr. E. von Szent Gyorgyl, Budapest. 

And two "reserve members," Captain N. J. Backer, Holland, and Herr H. Valar, Switzerland. 
The Secretary is Herr Alex. Lindmann, Stockholm. 

The Council allots the various Championships of the year to different members of the Union, and 
arranges that all International skating competitions shall be carried out on the recognized lines. It de- 
cides where the Congress shall meet, and reports to it on International matters for the past two years, 
itself acting on matters of urgency which arise between two Congresses. 

153 



I.— GENERAL REGULATIONS FOR SPEED AND FIGURE COMPETITIONS 

A.— GENERAL 

1. An international Amateur Competition can only be held on the lines laid down by these Regula- 
tions. 

2. A skater is not recognized as an Amateur if he has since January i, 1893 — 

(a) practised in his own person any sporting bodily exercise as a means of gain (gymnastic and 
fencing instructors excepted); 

{b) practised or taught skating for money (excepted are the bare repayment of hotel and travelling 
expenses by his own Club or Association or by the Club or Association holding the competi- 
tion; in the latter case they may not be repaid directly to the skater, but only through the 
Club or Association which nominated hmi); 

(c) sold or pledged prizes won in sporting competitions; 

(d) knowingly and without protest started in an open skating competition against a competitor 

who is not an Amateur accordmg to these regulations. 

(e) been disqualified as Amateur by his own National Association. 

3. The REHABILITATION of a professional skater as Amateur can only be pronounced by the Council 
of the I. S. U. at the request of a member of the I.S.U. The skater thus rehabilitated may take part 
in no open skating competition within a year of his rehabilitation. 

4. In international Junior Competitions a Junior is one who before the,first of October in the 
calendar year of the announcement of the competition has not won in an International competition, nor 
carried off a National Championship. 

5. The international competitions instituted by members of the I. S. U. are only open to such 
skaters as belong to the I. S. U., with the exception of the World Championships, which are open to 
amateurs of all countries, and the European Championships, which are open to amateurs of Europe. 

A skater may only be entered by one and the same Club or Association in the course of a season; 
exceptions are permissible with the consent of the Council of the I. S. U. 

6. Skaters who belong to the Associations and Clubs of the Union may only take part in competi- 
tions announced by members of the Union. 

If an amateur knowingly takes part in an international competition which has not been announced by a 
Member of the Union, he can be disqualified by the Council for a certain time from taking part in any 
international competition and from holding any official post at such competitions as are held by members 
of the Union. 

7. The announcement of an International Competition must be published at latest before the first 
of December, and at least three weeks before the race-day, in the German, English, or French language, 
and must include: 

{a) A statement of the place at which the race will be held, and whether natural or artificial ice 
will be used: 

(b) Dates of the closure of entries and of the race-day: 

(f) The amount of the entrance fee, and the character of the prizes: 

154 



INTERNATIONAL SKATING UNION 155 

For speed skating — ■ 

(d) A statement whether a double or single track will be used: 

(e) The length of the track, with a statement of the turns, an indication of the radius of curvature, 

and a statement of how many degrees the turn makes. In a double track is also to be noted 
how long the crossing-line is (at least 40 metres [43.7 yards]). 
For figure skating — 

(/) In individual competitions, a statement of the compulsory figures, of the duration of the free 
skating, of the maximum points obtainable in both sections, and of the factor for free skating: 
(g) In pair and team skatmg the composition of the pairs or teams and the maximum time allowed 
for skating: 
For speed and figure skatmg — 

(A) Supplementary conditions of any kind. 

8. The ENTRIES must include: 

(a) the character of the competition, 

(b) the name of the Club or Association making the entry, 

(c) the name and age of the competitor, 

(d) a certificate of amateur status from the Club or Association making the entry. 
Pseudonyms are permitted, but must be accompanied by the correct name. The entries must be made 

THROUGH THE ASSOCIATION OR Club CONCERNED, and are to be forwarded in writing or by telegram to the 
place designated in the announcements of the competition; all entries arriving after 8 P. M. of the day 
settled for closure of entries are to be treated as post-entries, for which a double entrance-fee is to be paid. 
All post-entries must be made before the beginning of the first heat. 

9. The ENTRANCE FEE is to accompany the entry, and is returnable only in the event of the competi- 
tion in question not being held. 

10. Withdrawal of an entry is permitted before the closure of entries without forfeit. After that, 
the entrance money is considered as forfeited. 

11. After closure of the entries, those which have arrived are to be announced at a meeting of the 
Committee of the Competition; at the same time the public drawing OF the starting numbers is also 
to be held. 

12. A COMPETITION falls THROUGH, if at least three competitors have not entered, or if at least two 
of them do not appear at the start. In this case the entrance fees are to be repaid to those who appear 
at the start. 

All competitions for a Championship or Challenge prize are excluded from this limitation. 

13. In International Amateur Competitions medals or prizes of honour may alone be given. The 
latter must have the character of true prizes of honour. Orders on tradesmen are forbidden. 

The number of prizes given must not be higher than the number of competitors entered, less two. 
Championship and Challenge prizes are not subject to this limitation. 

14. Postponement of the day of competition necessitates an extension of the closure of entries for a 
corresponding period. The postponement is, when possible, to be announced to the Clubs entering, so 
promptly that a withdrawal of the entries can arrive before the new closures of entries. 

The Councils of the members of the I. S. U. and the official papers must also be advised at once of the 
postponement. 

15. All competitors are responsible for notifying their local addresses to the Committee. 

16. If a Club or Association withdraws its announcement, it is compelled to communicate its 
reasons to the Committee of the I. S. U. within a week. 



156 SKATING WITH BROR MEYER 

17. The Association or' Club holding the competition nominates of its free choice (except for limita- 
tions applying to Championships). 

For Speed Competitions: a Referee (World and European Championships excepted), a Starter, a Goal 
Judge, a Time-keeper, two Time-checkers; also. Lap-counters and Course-keepers. 

For Figure Competitions: a Referee (World, European, Ladies', and Pair Championships excepted) 
an uneven number of Judges — not less than five, and the necessary Course-keepers to summon the skaters, 
to announce the compulsory figures, to time the free skating, and for the orderly conduct of the competition 
in other ways. 

In the World and European Championships and in the Ladies' and Pair Championships of the I. S. U., 
the office of Referee is held by the Council of the I. S. U. 

18. The Judges in Figure Skating for the World and European Championships and for the Ladies' 
and Pair Championships of the I. S. U. are chosen by a committee elected for this purpose by the Congress. 

Members of the I. S. U. may send in to the Chairman of this Committee every year before May 1st 
lists of Judges from which the Committee may make its selection. The Committee is empowered to 
appoint also as Judges of Championships Judges whose names are not contained in these lists. The list of 
Championship Judges selected by the Committee must be forwarded to the Council of the I. S. U. by' the 
Chairman before October ist; the Council has then to publish the names of the recognized Championship 
Judges to the members of the I. S. U. 

Members elected by the Congress to this Committee by that election themselves become Champion- 
ship Judges. 

For International competitions other than Championships, every member of the I. S. U. has to com- 
municate to the Council of the I. S. U. the names of its Judges in Figure Skating for the coming season 
annually before November 15th; the lists forwarded must be communicated to the members by the Council 
of the I. S. U. Protests against one or more Judges may be raised by the Associations and Clubs within a 
fortnight; after this time the Council accepts those proposed as Judges, or rejects them, giving reasons 
therefor. The Jury for all International Competitions in Figure Skating can only be composed of the 
Judges thus recognized. 

For the World, European, Ladies', and Pair Championships the Jury may consist only of the Judges 
recognized by the Committee for Championship Judges; if the number of Judges sent does not amount to 
five, the Club or Association holding the competition has to complete the number up to five. 

Exceptions to this are only allowed with the consent of the Council of the I. S. U. 

19. The Referee decides on all protests which may occur, and other matters of dispute, except those 
concerning the start in speed-skating; he is empowered to decide also on any breaches of rules which may 
occur, even without a protest having been raised, and if necessary to exclude individuals from the compe- 
tition. From his decisions there is no appeal. 

The Referee for Figure Skating is also Foreman of the Jury, but does not mark with them as such. 

20. The Referee decides whether the condition of the ice allows of the holding of a competition; he is 
empowered to introduce alterations into the programme, and can, if unfavourable conditions arise, alter 
the shape and size of the course, or cause a quite new course to be laid out at any place of his selection. 

21. Protests must be lodged with the Referee immediately after the skating, with the deposit of a 
sum equal to a single entrance-fee for the competition concerned; objections which come in later can re- 
ceive no consideration. 

In writing protests can only be lodged: 

1. by those nominated for the competition concerned, or 

2. by members of the Committee of the competition, or 

3. by representatives of those Clubs or Associations which have entered for the competition. 
Objection to the admission of a competitor must be lodged before the competition; if an immediate 



INTERNATIONAL SKATING UNION 157 

decision cannot be arrived at, the competitor is permitted to start, but meanwhile the announcement of 
the results of the Competition and the distribution of the prizes are to be deferred till the decision has been 
made. All objections to the composition of the Jury must be raised before the competitors are called 
over. 

The amount deposited lapses to the funds of the competition, in case that the Referee rejects the pro- 
test as unfounded. 

The competitors are bound to submit themselves in every respect to the directions of the Referee, 
Starter, and Course-keepers. 

22. A FOUL by a skater, if confirmed by decision of the Referee, results in disqualification for the 
competition concerned. If the foul was intentional, the skater can take no further part in the competitions 
announced. 

The skater can in this case also be disqualified for Championship heats already run. 
To precede or accompany a skater, pace-making is not allowed. 

If a race be a dead heat or declared invalid, the Referee has to decide whether, where, and when a 
new race shall be held. 

23. A FALL is [in itself] no bar to a win in any branch. For personal accidents which arise through 
fault of the skater, no allowance can be made by the Judges. 

A skater who is mterfered with, through no fault of his own, may be allowed by the Referee to start 
again, or in Figure Skating to begin again the figure in question. 

24. The Committee undertakes no sort of responsibility for risks run by the skaters. 

25. At every start a signal will be given by a bell, and thereupon the names of skaters are to be 
clearly called both at the post and in the changing-room by a person specially detailed thereto. 

Failure to appear promptly at the start is equivalent to resignation of the race. 

26. The RESULT of the competition is to be made known as soon as possible, and at latest on the 
day after the competition. The Committee has to communicate the detailed results of the competition 
to the Council of the I. S. U. within a fortnight. 

B.— CHAMPIONSHIPS 

27. The ANNOUNCEMENT and conduct of championship competitions in observance of the conditions 
settled by these regulations are the particular province of the Club or Association announcing or insti- 
tuting the competition. The announcement must, however, be submitted to the Council of the I. S. U. 
for approval before publication. 

28. The ENTRANCE FEE for the Championship of the World and of Europe and the Ladies' and Pair 
Championships amounts to ten shillings. It is not permitted to enter for single distances or sections. 

29. The winner of a Championship bears the title "Champion of the World (or of Europe) in Speed 
(or in Figure) Skating for. . . . (year of the event)." Similarly "Lady Champion of the I. S. U." or 
"Champion Pair of the I. S. U. for. ..." 

30. The Associations or Clubs instituting the competitions have to provide the Championship medal 
according to the pattern determined by the Council of the I. S. U.; and members of the I. S. U. must not 
give for other contests any medals which resemble the Championship medals. 

31. For the days for which the Championship of the World and of Europe and the Ladies' or Pair 
Championships are announced, members of the I. S. U. must announce no other international races of a 
similar character. 

The dates of holding the Championships must be communicated to the Council and by them to the 
members at latest by November ist. 



158 SKATING WITH BROR MEYER 

During the skating of a World, European, Ladies', or Pair Championship, no other event shall take 
place on the same track or rink. 

32. When possible, the Championship of the World shall be held after that of Europe. 

II.— REGULATIONS FOR SPEED COMPETITIONS 

A.— GENERAL 

33. International races may only be held over the following distances: 500, 1,000, 1,500, 5,000, and 
10,000 metres [546.8, 1,093.6, 1,640.4, 5,468.2, 10,936.3 yards], and either over one of these distances, or 
over several with a single award of prizes. 

34. In addition to the distances prescribed in §33, races may also be held over more than 10,000 
metres. Such races may not be held on the ordinary tracks, but are to be regarded as races on a straight 
course, and the skaters in them must start simultaneously. 

35. All international races must be run in pairs (except as under §34), but if, however, the 500 metre 
heat be run on a single track, every skater goes over the course alone and against time. 

The STARTING ORDER of the skaters, as that of the pairs, is decided by lot. 

The lowest starting number has the inner track. 

If a skater is left over after the pairs have been settled, either because the number of competitors was 
odd, or because his opponent has scratched, he runs last. If several skaters are thus left over, they are 
paired again in the order of then' startmg numbers as drawn by lot and the order of these new pairs is 
determined by lot. 

All post-entries start before those who were entered by the proper time (except as provided in §36), 
and in the reversed order of arrival of their entries. 

If the number of post-entries is odd, the latest entered starts alone, or with a post-entry who has been 
left over. If more than two post-entries are left over, they are paired in the reverse order of arrival of 
their entries. 

36. If a competition extends over several distances, at every subsequent distance those skaters are 
brought together who have made the best times over the previous distance. 

At a competition over distances of 500, 1,500, 5,000, and 10,000 metres, in the heats over 1,500 and 
5,000 metres those skaters are paired together who have made the best times over 500 metres, and in the 
heat over 10,000 metres those who have done the best times over 5,000. 

If two skaters Iiave done the same time over the 500 metres, and received such place-numbers that 
they have not to race together over the 5,000 and 1,500 metre distances, it shall be determined by lot 
which of the two shall be paired in the 5,000 metres with the skater who received the next lowest place- 
number for the 500 metres. With this latter shall be paired in the 1,500 metres the other of the two who 
tied for the 500 metres. 

The serial order in which the pairs thus formed are to start is decided by lot. 

If a skater is left over, either because the number of competitors was odd, or because his opponent 
has scratched, he runs last. If several skaters are thus left over, they are paired again according to their 
times, and the order of the new pairs determined by lot. 

"Knock-out" heats are not allowed. 

37. The 500 metres race can be run on a straight course. Records made on a straight course have 
no validity. 

38. The MEASUREMENT OF THE COURSE is to be taken half a metre [195 inches] from the inner edge; 
the course must be measured by an official surveyor, who also has to set the right position of the starting 
line. 



INTERNATIONAL SKATING UNION 159 

39. With regard to the watches used for time-keeping, a certificate is to be produced from a watch- 
maker that they do not vary more than a second in the hour from the actual time. 

40. In races of 5,000 and 10,000 metres, the time for each lap shall be taken and noted where 
possible. 

41. On a single track the skaters shall be placed at least two metres apart from one another. On 
the double track system, each track shall be at least three metres broad [g ft. 9 in.] 

42. The starter has to decide independently on all disputes relating to the start. 
The starter has to take position behind the skaters. 

The start is given by the words "Ready! Go!" etc. 

It is permitted mstead of this to start with a pistol; in this case the shot follows the word "Ready!" 
When "Go!" is said, or the shot fired, the start is valid. 

43. The skaters may not stand at the start with their skates over the line: that is, they may only reach 
the line with the tips of their skates. 

44. The race is always to the left; that is, the inner side of the track on the left hand. 

45. On a single course every skater may take the inner track after the start, but he takes the risk 
of a foul. 

He who has the inner track has to keep to it. If he diverges to the right, he does it at his own risk. 

46. On a single track a skater may only skate behind his opponent — on his track — ^when the dis- 
tance between them amounts to at least five metres [16 ft. 3 in.]. 

In case that he does not observe this condition after warning, and thereby obtains advantage in the 
opinion of the Referee (for example, in a strong wind), he is excluded from winning aprize. 

47. The Course-keepers have to look out for impediments of any sort to the skaters, from each other 
or from other quarters, and to bring such promptly to notice. 

48. The Lap-counters have to put up the number of laps still to be skated; at the beginning of the 
last lap a signal by bell is to be given to the skaters from the judges' stand. 

49. A skater has run his distance when he has touched, or reached, the goal-line with his skate. 

If a skater fall shortly before the goal and slides with his skate over the goal-line before his opponent 
skates over it, he is the winner. 

50. The Goal Judge has to determine which skater crosses the goal-line as first or second. There is 
no appeal from his decisions. 

51. The Timekeeper has to determine the time of the man going through the goal. If by any acci- 
dent whatever he has not timed him, or timed wrongly, the mean time of the Time-checkers is decisive. 

From the times decided there is no appeal. 

The timers must stand at the start behind the skaters; if the short distance does not allow this, start 
and goal are to be connected by an electric bell. 

52. In racing over several distances with a one award of prizes attached, the winner is he who has 
won over a maiority of distances. If no one has won a majority, the sum of place-numbers over all dis- 
tances decides. If the sum of place-numbers is equal, a decision is made by marking on points. Second 
and third places are also to be determined on these principles. 

Over 500 metres the points are the number of seconds in the time done; over 1,000 metres one half, 
over 1,500 metres one third, over 5,000 metres one tenth, over 10,000 metres one twentieth, of the times 
done expressed in seconds. The winner has the lowest total sum of points. 

The points are reckoned to two places of decimals, and if necessary corrected by the third place. 



i6o SKATING WITH BROR MEYER 

B.— CHAMPIONSHIPS 

53. The World and European Championships must be run on a double track (length of the course 
if possible 500 metres [546.8 yards], but at least 400 metres [43 7.4 yards]): only if the double track proposed 
is useless owing to any circumstances, the Referee is authorized to let the races be run on a single track. 

The RADIUS [of the turn] in the World and European Championships must amount to at least 20 
metres [21.8 yards]. 

54. The DISTANCES both for the World and European Championships are 500, 5,000, 1,500, and 10,000 
metres [546.8, 5,468.2, 1,640.4, and 10,936.3 yards]. 

55. In order to win the World or European Championship, the winner must complete at all the dis- 
tances, and run them completely out. 

The Referee is empowered to dispense with these conditions in exceptional circumstances. 

56. He is winner in the World or European Championship who has won over three or four distances. 
If no skater has fulfilled these conditions, the Champion is ascertained from the two, three, or four 

winners over individual distances by the best place-numbers; and if this yields no result, by the marking 
on points (§52). 

57. The Races for the World and European Championship occupy Two days [each]. On the first day 
the races are over 500 and 5,000 metres; on the second day 1,500 and 10,000 metres. If unfavourable 
conditions of weather appear suddenly, alterations may be made in this [programme]. 

III.— REGULATIONS FOR FIGURE-SKATING COMPETITIONS 

A.— GENERAL 

58. In International figure-skating competitions are to be distinguished: (i) Individual skating; (2) 
Pair skating; (3) Group skating. In Pair skating only similarly constituted pairs (lady and gentleman, 
two ladies, or two gentlemen), and in Group skating only groups of similar number-and constitution, may 
compete against one another. 

59. Individual figure-skating is divided into (a) the skating of prescribed exercises (compulsory 
figures) and (b) the skating of optional figures up to a maximum number of successive minutes (free 
skating). The adjudication of the prizes follows from the whole number of marks attained in both di- 
visions. The Club holding the competition may give a separate prize for achievement in either division. 
In order to win a Championship (title and medal) the victor must have obtained the minimal mark "good" 
= 4 from a majority of judges for at least two thirds of the compulsory figures and for the free skating. 
It is not permitted to enter for one division only. 

The compulsorj' figures must be skated, if possible, at some other period of day than the free figures, 
in any case before them; if possible, on the same or the preceding day. 

60. Pair and Group skating consist of free figures only. 

61. The judges have to mark independently of one another, each on a table of the character appended. 

B.— COMPULSORY FIGURES 

62. The compulsory figures are to be selected from the diagrams appended, and to be at least six 
in number, Figures which begin (a) Right and (b) Left are to be skated in both forms (a) and (b). For 
the World and European Championships, the following elements — Change-Three, Double-Three, Loop, 
Rocker, Counter, Bracket; for the Ladies' Championship, Curve Eight, Change-Loop, Three, Two Threes, 
Bracket, and other Rocker or Counter — must be included in one at least of the figures selected. Apart from 
this the choice of compulsory figures is left to the wishes of the Association holding the competition. 



INTERNATIONAL SKATING UlsnON i6i 

63. All competitors skate the same figure, after it has been loudly announced, one after the other as 
his name is called, m the order of the starting numbers, as drawn by lot. But post-entries skate in the 
reversed order of arrival of their entries. 

After each figure the order is so far changed that the competitor who before was first now has the 
last place. An exception to this may be made when only two competitors start, but only with the con- 
sent of both. Every competitor has to begin his figure at latest two minutes after his name has been called, 
otherwise the figure will be marked to him as "not skated." 

64. Every compulsory figure can only be begun "from rest," that is, by a single stroke off the other 
foot (free foot); the commencement must be made at the crossing-point of the eight. The change from 
one foot to the other must be made without pause by putting down the free, now tracing foot, and a simple 
stroke with the lately tracing, now free foot. Every figure must be repeated three times, both on the right 
and left foot; the repetition follows without pause, as above. 

65. Every compulsory figure is marked with the numbers o, I, 2, 3, 4, 5, 6; of which 0= "not skated," 
2 = "pass," 4 = "good," 6= "faultless"; i, 3 and 5 are intermediate values. Half-points and quarter-points 
are also allowed as further intermediate values. In assigning a mark, there ranks, in the first place, correct 
tracing on the ice; in the second, carriage and movement; in the third, size of figure; in the fourth, approxi- 
mately accurate covering of the traces in the triple repetition. These four points of view count as of 
descending importance in the foregoing order.* 

66. As rules for correct tracing are to be regarded: — maintenance of the long and transverse axes in 
the triple repetition (as long axis of the eight a line is to be conceived, which passes longitudinally through 
the middle of the eight, dividing it right and left into two equal halves; the transverse axis passes at right 
angles to the long axis through the middle of the eight); approximately equal size of the first and second 
halves of the eight, divided bj^ the transverse axis; symmetrical grouping of the individual parts of the figure 
about the axis; curves without sub-curves, skated out to the end, that is, returning nearly to the starting 
point; threes with the turns lying in the long axis, second curve approximately of the same size as the first; 
double-threes with the middle curve cutting the long axis at right angles, the three curves of nearly equal 
size; loops longer than broad, without sharp angle, with their long axis lying in the long axis of the eight, 
second curve approximately of the same size as the first; changes of edge with an easy transition, the change 
falling in the (long) axis; when skated out to a full eight, the change of edge coming near the starting-point 
of the first curve, second curve returning to the same point, approximately of the same size as the first; 
rockers and counters without change of edge; the turn near the axis; brackets without change of edge before 
and after the turn, turn on the axis, first and second curves approximately of equal size. 

67. As rules of correct carriage and movement in skating the compulsory figures (within which 
rules the individuality of the skater receives free play and all possible consideration on the part of the 
judges) are to be regarded: — 

Upright carriage, not bent at the hips, but without being stiff. Strong bending of knee or body to be 
. only momentary; head upright. Free foot to be held only a little way from the ice, not dragging behind; 
toe turned downward and outward, knee slightly bent, generally held behind the tracing foot; otherwise 
swinging freely and assisting the movement, but without being held far away. Arms hanging down, 
easily; like the free foot, they can be used to assist by their movement, but without raising elbow or hand 
far away from the body; hands, when possible, never above the waist. Fingers neither spread nor 
clenched. In general, everything violent, angular, or stiff to be avoided in the movement; no effort is to 
be strongly expressed, but the impression that the figures are executed without trouble is to be aimed at. 

*NoTE. A Resolution of the Sixth Congress instructed the Judges to condemn excessive size attained at the expense of correct 
tracing or of graceful carriage and movement. 



i62 SKATING WITH BROR MEYER 



C— FREE SKATING 



68. In the free skating (alike in Individual, Pair, and Group skating), the competitors follow one an- 
other in the order of starting numbers as drawn by lot, but post-entries skate first in the reversed order 
of the arrival of their entries. The period of time at a skater's disposal is reckoned from his beginning to 
skate. Every minute gone is announced to the skater by the call One, Two, etc., and by putting up the 
corresponding number. For the World and European Championships the period for free skating amounted 
to five, for the Ladies' Championship four, successive minutes. The area must be symmetrically bounded, 
and must measure at least thirty-five metres in one direction [114 feet]. 

69. The free skating is marked (a) for the contents of the programme performed (difficulty and vari- 
ety); {b) for the manner of performance (harmonious composition, sureness, carriage, and movement, etc.) j 
in each case with the numbers o to 6 with the same significance as in the compulsory figures. 

In Pair and Group skating accurate timing by the skaters is specially to be considered in addition 
under (b). 

D.— DETERMINATION OF THE RESULT 

70. In Individual skating, on each marking card, in every compulsory figure, the mark given is 
multiplied by the factor of value which belongs to the figure in question in proportion to its diiliculty, and 
is to be taken from the appended diagrams of compulsory figures. The total sum of these products on 
each marking-card for each skater individually gives the number of points for compulsory figures which 
he has earned with the individual judge. 

The marks given for free skating under {a) and {b) are added, and the sum multiplied by the factor 
stated in the announcement; the product is the number of points for free skating. The factor must be 
selected so that the highest possible points for free skating amount to about, but not more than, two thirds 
of the highest possible for compulsory figures. 

The number of points for free skating plus the number of points for compulsory figures gives for each 
skater individually the total number of points which he has earned with the individual judge.* 

71. Each judge has to arrange the skaters in order, according to the total number of points given on his 
marking-card, so that the skater with the highest number of points receives the ordinal number I, the next, 
the ordinal number 2, etc. If two or more skaters are equal in the total points on the marking-card, the 
highest number of points for compulsory figures decides the ordinal number between them. 

If the points for compulsory figures and free skating are also equal, the Judge does not give the mean 
place-number for the two places in question.* 

The winner is he who is placed first by an absolute majority of Judges. If no one has an absolute 
majority for him, the final result is obtained by adding the ordinal numbers assigned by the individual 
Judges. If two or more competitors are alike in the sum of the ordinal numbers, then the sum of the total 
number of points on the individual cards decides between them; if this leads to no decision, then the sum 
of the points for compulsory figures only [is to decide the question]. The second and third places are also 
decided on those principles. t 

72. In Pair and Group skating, the marks given for free skating under {a) and {b) are added, and the 
place-number on each separate marking-card determined by their sum. 

*NoTE. By a Resolution of the Ninth Congress, marking-cards may be supplied for Compulsory and Free skating without the 
factors. Separate marking-cards may be supplied for Compulsory and Free skating. 

fNoTE. By a Resolution of the Ninth Congress, no reckoning up of the marking-cards may be done till the conclusion of the 
Free skating. By a Resolution of the Seventh Congress, when two or more skaters have done the same times, or have 
received the same [total] points for Figure skating, the place- number to be given to each is the arithmetic mean of the 
place-numbers which they cover. 



^ 



INTERNATIONAL SKATING UNION 163 

That Pair or Group is the winner which is set in the first place by an absolute majority of Judges. 
If none obtain an absolute majority, the result is determined by the sum of the place-numbers; if two or 
more competitors are equal in the sum of place-numbers, the sum of the points received decides; if no final 
result then appears, the highest sum of points for the manner of performance decides. The second and third 
places are also decided on these principles. 

73. Of the results, must be published at least the total number of points for compulsory figures, and 
those for free figures, from every separate card, as well as the final numbers resulting from them. It is 
also desirable, if not actually to publish them in detail, to permit public study of the complete tables for 
some time. The original marking-cards must be forwarded to the Committee of the I. S. U., if required; 
those for the World and European Championships and the Ladies' and Pair Championships [must be 
sent to them] in any case at latest four weeks after the competition. 

74. Methods of marking other than according to the preceding system are invalid. 

75. The Clubs or Associations holding the competition may, at pleasure, make supplementary regula- 
tions so far as they are consonant with the foregoing; these must, however, be given in the announcement. 

For the Championships of the World and Europe, however, and for the Ladies' and Pair Champion- 
ships, the above regulations are valid without alteration or addition. 




3k77^'^ 



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